JSngry

I would watch every Goodson-Todman TV game show ever made if they were all on the TV.

Beth Crumbley - Kiss Me Where It Hurts Spoiler alert - that's everywhere, or so it sounds like.

fwiw...I am just finishing up on as exhaustive as possible (meaning I don't access to any really deep-collector type stuff) examination and reordering of all Chicago Ra into chronological (again, as best as possible, and I'm still not convinced of all of Campbell's session groupings here, but he certainly is in a better place to have an opinion than me, so...). The next move for me is to do the same for all available Choreographer's Workshop Ra = anything else from the NYC period. I already have some, recently got more, and plan on using the Sun ra Bandcamp site to fill in any blanks. At the gist of all this is something going on in another disuccion here - how much of the history of this music do you want to depend on records alone to provide. This instance here is a perfect example - not too much. Regarding all this here, sure Trane was on the road a lot once he got his won band, but Gilmore was always in NYC with Ra, right? Strating in late 1961, definitely 1962. And when was his "hiatus" from Ra, 1965? So there he was, in the underground, but not an unknown underground to those who were in town and paying attention. Pharoah hit town in 1961(?) and moved in with Ra right away, for how long? But the association had to have beneficial, and Gilmore (as well as Patrick) was already "extending" his technique (and again, why does nobody give Marshall Allen a consideration here? He was every bit as into this as anybody. It might be an alto, but it's still a saxophone, the physics still apply, and that's what we're talking about here in terms of these techniques, physics. And jesus, OBOE!!! And Trane would have known who to check out, period, and where they were, espeically if it was somebody he already knew and had a bond with. Ra certainly helped us along by recording so "obsessively", but he did us no lasting favors by obfuscating his Saturn releases' dates (and sometimes personnel). So maybe it's now all getting sorted out, sorta, maybe. Point jsut being - this music (at least this continuum of it) was totally a community music. "Records" were certainly not the object of the game, people knew that making records was a game designed to put most of the money and attention other than in their pocket, and besides, as hoary a cliche as it's become, it really was/is a spiritual music above all else...except for those who it wasn't, but you could usually tell who they were. Bottom line - "narratives" are only as good as how much truth they have, and these days, that's increasingly diminishing (facts aplenty, though!). Does that have anything to do with a product like this one benefiting from a tight, stitched-up narrative being in place into which a product can be dropped? You tell me...

As you know, documentation is...vague. But, Chorographers Workshop ca. 1963 (the most recent dating), the techniques are not only present, but perfected: A few things, though... the dating is still evolving, but the dating of 1963 seems accurate enough, all things considered now that things can be evaluated more "objectively"; it's not just Gilmore either, but also Allen and Patrick as well; none of this excludes Ayler, btw. but Gilmore's and Patrick's bop groundings gave them the, for lack of a better word, "understanding" that these techniques could indeed be used to "expand" the instrument as well as "liberate" or "revolutionize" it. As it pertains to Coltrane, ok, Coltrane was an omnivore. But as it pertains to the specifics of what Pharoah is playing on this release, it seems like much the same techique. Not casting shade at all, if anything, hoping to shine more light.

Which maybe raises the question - did Gil already have that into transcribed and written/orchestrated that soon after the recording session, or did Bill get it from Gil, or just what was that intro all about anyway? Not really...https://en.wikipedia.org/wiki/Robert_Herridge Herridge produced and hosted The Robert Herridge Theater, a half-hour dramatic anthology that ran in syndication circa 1959-1960[3] or in 1961[4] (sources vary), primarily on educational television stations.[4] One edition, "The Sound of Miles Davis", which Herridge referred to onscreen as "a story told in the language of music", consisted of an April 2, 1959, jazz concert by Davis, John Coltrane, Wynton Kelly, Paul Chambers, Jimmy Cobb, and the Gil Evans Orchestra at CBS TV's Studio 61. It aired July 21, 1960.[5][6] https://en.wikipedia.org/wiki/Kind_of_Blue Kind of Blue is a studio album by American jazz trumpeter-composer Miles Davis. It was recorded on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City, and released on August 17 of that year by Columbia Records. So back to the original point, yes, knowing a release date certainly does provide critical data, although more about product than actual music,

OMG!!!! LSD!!!

Two down, two to go. Are these pieces all documented in the revised (or otherwise) Campbell discography?

Taymer Mason Parry Gripp Jesse Shwayder

Exactly. It's also why I look but don't touch his music. I try for less duality and more unity. It is what it is, death and life, both are happy and both are sad. It's really all the same, it just depends on where you are when you're looking at it.

Benny Goodman Goodman Ace Easy Wliams

I hear sad life and happy death in equal measure

Absolutely. My thing is to talk to all the old, crazy, and old crazy people you can find, and then bump what they say up against the hype of the ownership and aspirational ownership classes. That means finding them and then just sitting up and listening, no matter what. As much of a challenge ( mostly to The Ego Of Now) that can be, the truth almost always will almost be in there somewhere. It's never in ownership' interest to not hype, and true genesis creates itself organically. But both are how we get to the point of both truth and reality And that's what I love about Anthony Braxton's long game, he's taken it upon himself to take on both of these roles, lest there be no misunderstanding, then, now, and next

Bill Evans Bill Evans Bill Evans

There are those type of musicians, sure. But there are others for whom that equation is completely reversed, recording is just a necessity of commerce, and not even then an absolute necessity. Of course, that's 20th Century. Now that we double down on the concept of communal narcissism... I Record, Therefore I Am...yuck.

True enough, but if/ when we allow perception of reality to be dictated solely by manufactured product, we succumb to somebody's else's agendas. In historical jazz, this matters greatly, because so much of the music's were created with no intention of there being anybody around except who was there anyway. In some cases, like Jerry Newman's stash, there was some fortuitous eavesdropping going on. In other cases, like all that went on in those non-stop Kansas City days ..nothing except oral histories and some kind of after the fact imaginative connect the dots is the best we can conure. We know it happened, though. Records are not all we have, and although records tell A story, they do not tell THE story. Music happens without records, and what gets to a record is the result of somebody deciding what and who THEY like. A culture that allows itself to be solely dictated to and defined by an external industry is a culture that has volunteered for an existence of erasable and interchangeable slavery. Only in a documentary-centric culture. In an oral or otherwise experientially based culture, the "records" are not limited to manufactured objects.

Pat Williams Mary Tyler Moore Beth Jarrett

That live So What was not from the KOB recording session. It was some CBS TV show.

Samuel Morse Dotty Dodgion Julian Dash

A recording, sure, but most music is not recorded. Influence often happens at the local/community/regional level of internal interactions. What makes it to record is usually an end product, after which the process of external influence begins Or doesn't. Maybe that should all be in past tense.

I feel like it's always a scolding even if/when you agree with him. However...he is right to call out Transition... that's where McCoy seems to be a lot here. Not that record, but that place, that zone Elvin too, for that matter. But after a few more listens... I'm thinking that we should all chuck the narrative go back and check out John Gilmore on his early NYC days (if not a bit earlier)...if nothing else for the technical things he was already virtuostic with before 1965. You can't overlook Ayler, of course, but Gilmore was so damn systematic about how he did it...he knew how to get there with or without the rapture, and you know, these things don't play themselves, these tenors don't. .

That's why I said "or his people". That slithery fucker doesn't get off THAT easy

Gilbert Grape Stephen Talbot Nancy and Rudy Talbot, two entrepreneurial New Englanders

See, I don't trust Leonard Feather to tell a true story, with facts and stuff. I think he's no above making shit up, of you know what I mean. So let's get him or his people up here on the horn RIGHT NOW and demand further exculpitation. In other words, put up or shut up, Feather. You might fool some, but not all, and not about your alleged Vanguard Baby.

Other than the heads, that's all Pharoah on "Pursuance", right?

What did they do with the placenta, did the kitchen fix it up good or what? Truth or it didn't happen.