JSngry

First heard it ca. 1976 or so, liked it then, liked it now. Strong until the end. Not needing the flute stuff on it, but oh well.

There was a circle of 5-6 jazz playing teenagers in East Texas in my late teens. We met and jammed ever summer when we were all home. One of the guys had an older brother in Tyler who actually had a good ear for the music and records to prove it. He kept telling us about this badass guitar player named "Pat Azzarra" who played this bacass solo on a Willis Jackson record - "Polka Dots and Moonbeams" to be exact. Well, surely the name is mispronounced or something? Got to go over to the older btohter's house one day and he played us the records, and wow, holy shit, yes to all of it, badass player, badass solo, and a name of Pat Azzarrs", it said so on the back of the record. Finally, about 1976 or so, I learned that this was what Pat Martino called himself back in those days, I called everybody up (long distance!) and shared the news, hey, that guy "Pat Azzarra" is really PAT MARTINO. And the unanimous responmse was, oh hell, NO WONDER, THEN!!!! Exactly! No jazz collection complete without it, imo.

Failing at the math right now...how do you get to 5/8 from 3/4?...6/8 * x = 5/8? x = 0.83333? Her mom is 5/6 Sweedish? Is that right? Hey, I'm adopted. This ancestry stuff never has taken root with me....

What a valuable resource! Thanks for sharing!

Little Johnny Coatbutton - To Hell With All That!!!

I can't advise on the audio stuff, I've always had it as Japanese product, but the music is exceptional - if you are inclined to liking it. Me, I love it. But some might find a bit (or more) loud and aggressive. Because it is! But this was the band to do that! Side two of I Sing The Body Electric is a condensed/edited version of the same gig, so if you like that, hey, dive in!

Uncle Rebus (feat. Narz Downs)- Jes' Concentratin'

When did people stop buying Swiss Movement? Or Getz/Gilberto? Or do we need some forensic auditors on the case?

Neither of those are bad records. Ronnie Laws has skills. Imagination, not so much, but if that's what you want, hey, look elsewhere. He could play that music just fine, at least as long as the producers let him. Both Carmen McRae and Marlena Shaw did not disgrace themselves on Blue Note. On fact, Shaw's Who Is This Bitch, Anyway? has aged pretty well, even if the title has not.

Really, I don't know that it's really new technology at all...didn't Zawinul have Wayne sampled into his rig post-Weather Report? That's really all this sounds like, a more evolved sampling, with a more refined set of parameters to play with.

I guess it might be interesting that there's no licensing credits on the Pacific Jazz record...did it come out in Germany in any form? Ok, on German Liberty: So I guess this was an indigenous to the label product, in 1969.https://www.discogs.com/release/3808302-The-Klaus-Doldinger-Quartet-Blues-Happening The fine print on the publishing is interesting, though, as the LABEL shows it to be the usual corplabel thing: German label:

Only new/fresh in the sense that the technology has been there for a while...DJs can do it if they have the musicality...which is one more reason why shunning them as musicians has not helped anybody in any way. People gonna do what they gonna do, and the more good information they have at their disposal is for everybody's good over the long haul. As it stands now, them that's got shall get, etc. But music has always been data of one sort or another, at least once it gets beyond the level of primal/uncontrollable aural ejaculation.

Duster would be considered the first, right? The group with Coryell.

I wasn't alive then, but...My take on the "narrative" of Stan Getz was that his "Early Autumn" solo with Herman "made him a star", in no small measure due to his, yes, sound. Just like they say here. That nickname stuck for a while, as I understand it. You'll see it references through the years, mostly on liner notes f4rom the early-mid 1950s.

I slept on those Dave Pike Set MPS records at the time b/c I associated him with a more "easy" style. In retrospect, those records were not that at all. So yeah, there was them, and yes, Volker Krieger. And Passport (specifically Doldinger who had one of his early records released on Pacific Jazz (although I don't recall it being really jazz-rock or anything. https://www.discogs.com/release/12509190-The-Klaus-Doldinger-Quartet-Blues-Happening/image/SW1hZ2U6MzYwNzc1NTM But if you want to connect some tenuous dots...look for whatever nexus existed between MPS records, Berklee, and Richard Bock/Pacific Jazz (who was dealing in both George Duke and Jean Luc Ponty. Bottom line, imo, it was going to happen, no matter what or where, impossible for it not to happen. And it was going to happen anywhere there were people were wanting to do it to see what happened. "Europe" had become host of a slew of American ex-pats, so people were learning to play real, not imitative. and if you got it in you to play and not just imitate, you will see where it takes you. This is an interesting read: I had this record for a quick minute, didn't do anything for me, to be honest. But it did happen!

As with Braxton, I make no real attempt to keep up with ALL of it. But hell, the guy's 80 and keeps using the best players, Ad when you add Henry Threadgill to the mix (as on the other new release), hell, I will make NO pretense of being even slightly disinterested! Plus, digital - unlike analog records, which can and do go missing for any number of reasons, this digital stuff...losing/erasing that is all but impossible. No crate digging required, just....server sleuthing?

So is it a good thing or a bad thing that now - or soon - they are more likely to have heard of him?

Happy you find it of use then, thanks! If I have a bit of difference from the "critical orthodoxy", it might be that I do not re oil in horror from "commercial" efforts, I just recognize them for what they are, right? But hell, a good time can be had by all, even if what TYPE of "good time" is being had will not - and need not - be the same for everybody. Democracy vs fascism,. But I don't know how radically "unique" that perspective is...maybe it's just that it's here on a public form that makes it seem that way. Anyway, again, thanks for your kind words, and maybe go back and check out that LA Phil record again...IIRC, the Hutch material is actually pretty strong, and Carmen McRae...is Carmen McRae, she gonna do what she do, period. For the Hutch material alone, "Hello To The Wind"! https://www.jazzdisco.org/blue-note-meets-the-l-a-philharmonic/discography/ Bobby Hutcherson Sextet Meets The L.A. Philharmonic Emanuel Boyd, tenor, soprano sax; Bobby Hutcherson, vibes; George Cables, piano; James Leary, bass; Eddie Marshall, drums; Bobbye Porter, percussion; The Los Angeles Philharmonic Orchestra, Calvin Simmons, conductor; Dale Oehler, arranger. "Hollywood Bowl", Los Angeles, CA, August 13, 1977 19720 Slow Change Blue Note BN-LA870-H 19721 Now - 19722 Hello To The Wind - 19723 Now (reprise) - Carmen McRae Meets The L.A. Philharmonic Marshall Otwell, piano; Andy Simpkins, bass; Joey Baron, drums; Carmen McRae, vocals; The Los Angeles Philharmonic Orchestra, Calvin Simmons, conductor; Bill Holman, arranger. "Hollywood Bowl", Los Angeles, CA, August 13, 1977 19724 Star Eyes Blue Note BN-LA870-H 19725 The Man I Love - 19726 Sunday -

Maybe semantic quibbling, maybe not, but in my mind, "jazz-rock" and "fusion" are different things, the former definitely setting up the latter, but not really being it. If anything, the word "fusion" sort of implies the removal of the hyphen from "jazz-rock". Of course, as with all semantic quibbling, that's all it is - semantic quibbling.

Oh, I think most people who pay attention do that. "jazz historian", that's like, a vocation or some shit. Dan Morgenstern is a Jazz Historian. Me, I'm just a guy with records and opinions. I do thank you for valuing my comments, though. Don't mean to give the impression that I don't.

I never mind being quoted, but always appreciate being asked first, especially when it's more than a sentence or two. And just for the record, I am not now, nor will ever claim to be, a "jazz historian". I'm a guy who listens to records and stuff and then draws conclusions. That's it. Ok?

Sure!

How do you NOT watch this?

I spent 10 or so years firmly believing that and have spent the years since trying to make up for lost time..which is of course not found again OTOH, the only time you really waste is the time you don't spend. This shit is endless, it really is. Nobody gets to it all, so, you know, it goes on until it stops, right? Keep it going!