JSngry

1979, the whole Bruce Fantasy catalog was in print, iirc.

"Some of our contestants will receive bla blah blah...and Fantasy Records, a collection of albums including Credence Clearwater, Cal Thader, and featuring the two-record soundtrack from the movie Lord of the Rings" The following have paid a for furnished prizes to NBC for promoting their products.....FANTASY RECORDS. Wonder what other records the unsuspecting contestant went home with, and what unsuspecting artist got those records charged to their accounts? Password Plus and Cal Thader, second only to Credence in name-recognition!

WOR was doing great work for Blue Note on their "hot jazz" stuff.

I have sleuthed George van Epps. wow, that guy was a motherfucker.

Grusin did great work on/for It Takes A Thief, which in itself was a great show. I guess he did The Name Of The Game as well, but I never really watched that one. But he got a good 45 out of the gig.

Urbanity is only urbane if it's used as one of many options, including rough, rude, and nasty. If I go to a cocktail party and hear the George Shearing Quintet, I am going to drink enough to puke, and then go do it right on the turntable (or Revox, if it's that kind of a joint) while the record's playing. And then see my way out, "apologizing" until I'm out of there. The do a bump and go on to someplace where I ain't gotta hear that crap. THAT'S urbanity!

Milt was always...natural, at least to me. Cannonball was natural as well, but he had some more rows to hoe, imo. Urbanity is, or used to be, a real thing

The Unyielding Tonic - Friend Or Foe?

Ok, Helen Jepson. Not Al, Herbie Mann on tenor. With Joe puma on guitar.

It's and OLD classical recording, like a 78, that much is obvious, so unless it's a broadcast, I have to think it's Anne Brown. And if it's not, then I only know 3!

Just don't drive your house and there should be no issues.

They had all changed, in ways from which they were not walking back, not that they wanted to. To quibble a bit, though, what were Herbie's "fusion" records? At least as that term is generically used, aka "jazz-rock"? Asking because, although Herbe at different points made more " commercial" records, I can't think of any that were engaged with "rock". Pretty much everything but that, actually!

Guitar as percussion. Dave dudley had shitty time but a great voice. That's why there are studio players - to make great records in spite of the artist, wn/as needed.

I did. that's Plas Johnson, I'm willing to wager dollars to doughnuts!

The synapses of the various creative processes are still a mystery to me, but I have no problem accepting that Wayne (in particular, but not exclusively him) was able to access different ones to achieve different types of thoughts and results. And then again, new ones once he started doing his later bands and projects. I do think that we (mostly) all sell ourselves short in that regard.

October 31 is my wife's birthday, so I'm going with this one.

I think I got most things wrong, actually, other than song titles. Not very many records on here I know, only four #s1, 5, 17, & 18.

I get that you use a different set of muscles., or even different parts of your brain. What bugged me then - and bugs me maybe even more today - was that any of these players "needed" to "get back" to doing that type of thing for any reason other than it was a fun thing to do for a good paycheck or 20. It's not like anybody was "repenting" or anything, like some people wanted to think it was. No. There was nothing to repent of/for. What repentance was needed was for bad records, not for the type of musics on those bad records. But this notion that Wayne Shorter was saying oh, I'm SO sorry for Weather Report, I'll never do THAT again, uh....yeah, sure, whatever. Or that ANY of them had seen the errors of there ways and were going to turn back time...that was to be Wynton's job, and in hindsight, if anything, fuck VSOP for putting that idea in anybody's head. Thanks VSOP, you inadvertently Al-Qaeda-ed jazz.

Taking the day off today, so let's not dally. 18 songs is a LOT!!!!! TRACK ONE - Me, I hate to see that morning sun come up, because that means I'm already awake and working, but to each their own. Not Earl Hines' "Boogie Woogie on the St. Louis Blues", but there is some well-deserved "boogie" connection. And if there's any doubt that Jug was coming straight out of Pres, hey, remove it now! TRACK TWO - Sounds like a "Cleo's Mood" knockoff, which may or may not mean anything. Mostly sounds like it could be Dewey, but often (enough), it doesn't. I don't think it is, it doesn't flow like Dewey. That vibrato seems not quite vocal in nature. But everything else sounds right (enough). Hmmm....I dunno. Somebody knows their tenor, though. Just what part of it...I'm not sure. No, that's not Dewey. This player knows some of what Dewey knew, just not the part that made Dewey Dewey. Some things pass with time. By the time it's over, I'm left wanting something...more. Or Different. And maybe from this same group. Or maybe not! TRACK THREE - Phil + Al + Eddie Costa, is s what it sounds like. Those guys could do this in their sleep or wide-awake, it made no difference, nor can I tell which one it is here, and that's a compliment. TRACK FOUR - I dunno, man, this sounds like"Christian" music that doesn't want to leave anybody out. But I am left out, and I'm totally ok with that. Really, I am. TRACK FIVE - A classic! I think it's funny as hell, that everybody talks about the "CTI sound", and ok, but anytime you hear a piano on a CTI record, no, that;'s RUDY'S sound! Age has made me lose a lot of my more youthful enthusiasm for this type of "innocence" in music, but damn...this is just right, period. I think Airto's kit drumming is the difference here. TRACK SIX - People used to mock big bands for sounding like "The tonight Show Band". Well, today we can mock these type of..."fusion"(?) bands for sounding like...The Tonight Show Band! Not The Roots, the one before them, the what's his name, the guy after Branford? Kevin Eubanks, THAT tonight Show Band. TRACK SEVEN - "Bohemia After Dark", with no wrong notes. Maybe they should play it slower to see if they can find some. TRACK EIGHT - "Stolen Moments" with some wrong (at least not original) notes, but I think it's on purpose. I like that. TRACK NINE - What a cute couple! TRACK TEN - That's nice. short, to the point, and tastefully/expertly (in equal measure!) done. Play well, make a good take, get paid, hey, life as a musician can be good if you work harder than anybody and don't fuck up. That way the traps won't get to you. And believe me, there are traps aplenty. But sounds like this guy pretty much stepped around and over them all. A fine record for sure, I mean, that sounds like almost two guitars, but it's not, that's one guitar. So hey, this guy(?) didn't fuck around! TRACK ELEVEN - "Shaw 'Nuff". Is that an electriic piano? Like, one of the later ones where you could really tweak the tone to where it sounded less like an electric piano? I never liked those. TRACK TWELVE - Sounds like The Tonight Show Band! The Doc one! Well, almost, this one is a little cuter with the woodwind doubling. Otherwise...yeah, too cute for me. My next guest is... TRACK THIRTEEN - Now THIS is interesting...it'd got Oliver Nelson virtually oozing out of every pore, but I don't know of any Oliver arrangement of this ...and the band is a bit more ragged than Oliver's usual crews. So best as I can figure, somebody learned from Oliver and learned well. No idea about the band, though, sounds real enough, NOT like The Tonight Show Band!!!!! TRACK FOURTEEN - Oh my! This is almost too clever for its own good. ALMOST! Not something I'd want to live with, but they could live on the block for as long as they like and I'd not complain. Kinda sounds like a woke/chill Steve Coleman, only those are not Steve Coleman solos at any turn. With better solos, I'd welcome them to move in next door, or at least across the street. As it is, just share the lead sheets and we'll talk when we see each other out in the yar, it'll be good like that. TRACK FIFTEEN - Is that Larry Coryell or somebody? Of its time, I suppose? Most things are to one degree or another. I like that trumpeter. TRACK SIXTEEN - Interesting. I very much like that it's about music and not "style", at least not overtly. TRACK SEVENTEEN - Your man's gone now? So why did they leave you behind? They could have done us all a favor and taken it all away! TRACK EIGHTEEN - WAYNE!!! OMG, I remember buying Second Genesis on some Affinity(looking) LP and getting happy with it right away, but then THIS started up and I LOL'ed IMMEDIATELY. It still strikes me that way, like bababaBAHBAH, , that Wayne, his comedic sense is not often enough noted, that's some funny shit. PRECISELY my cup of tea! YEAH WAYNE! 18 cuts, like a golf course! Now to return to the 19th!!!!

Nor do I.

All I ask is for a YT video of the OG "Bubbles Was a Cheerleader" instead of all of those ones by all those damn marching bands.

Well, I said, "sorta", and that's exactly what it was, and even less of what it is... Prysock at the time of the Basie record was under contract to the Old Town label (and check out the many records he made there, please do!), so the reciprocation for his recordin on Verve,. besides him eventually getting a deal with them (and check out the many records he made there, please do!) was this album on Old Town: Three cuts with Basie, and if you say, HEY - those three are on the Verve CD, well, you'd be right, and the liner notes explain that, just more record company holdings bingo and such. But before that happened, you needed to get two different records on two different labels to hear the complete collaboration. But now you don't. But it's a mistake to ignore Arthur Prysock on Old Town. Settings can and do vary wildly, but that voice...

No reason why it shouldn't have been. But " Be-bop and standards" was not the "brand" of "VSOP".

There were two (sorta) Prysocka as well