JSngry

Apologies in advance for the low-fi. Scanning this this has been a bear. But it's worthwhile, imo. Really, really sorry about the quality.

It's a group that plays like one. As one. any size band can feel like a "big band" if they think like that, imo.

Thanks. I gotta find a way to get the Ronnie Boykins interview up somehow.

The later (on both Novus & WB) dates tend to be a bit "produced", but the last dates (on IPO) are badass. But - do not hesitate to go backwards as well. The late-40s/early 50s stuff are magnificent. https://jamesmoody.com/discography/

A contractual workaround, perhaps.

Joker was a bootleg/grey market label (Italian in origin, IIRC?) of the 70s that put out some great stuff, that's floated around in different guises for years, notably ton he Lotus label. NP: More Hale Smith, please!

Same publication. Same pages, actually. The same as the one upthread that has the Woody Shaw cover photo.

Ok, that's the main article, or what I have of it. Part II???? Here's Frank's Thanks! Sorry for the low quality.

Probably so, sounds like the same thread of thought.

Sam said something somewhere about how if you were really playing "modal", that you would only play the notes in the mode, no passing tones or anything else. It seemed that he was saying it with a grin, but still, valid point in terms of terminology. True about Heath up until the early 1960s...check him out on KD's Show Boat Record and then Bunky Green's My Babe. He's ALL up in the Trane stuff there.

Let it be noted that, to this point, this is the last/final new Sonny Rollins studio recording. That long journey ends here. A somber, sobering thought...and not at all a bad record, either.

I have no idea what the parameters are with the latest board software. I just go with a URL of a JPG/JPEG, that almost always works.

You know what I like about Elvin Jones? When you hired him for your record, by god, you pay for Elvin Jones, you GOT Elvin Jones! The corollary to that is that if you're going to have Elvin Jones on your record, you better be ready to play with Elvin, which everybody here certainly does. Everybody else on this record, yeah, ok, they're parts, but as Trane knew, there is only ONE Elvin Jones.

A nice little chat just went up on bandcamp: https://daily.bandcamp.com/features/henry-threadgill-poof-interview?utm_source=notification

Which One Is Judy? - The End Of Identity (and Other Laments)

What you hear is what you get!

just for the sake of factual accuracy "shit-kickin' rednecks" and "hoe-down" occupy two different zones of linguistic as well as sociological chronological/historical relevancy. Although, there might well be some overlapping of the Venn diagram of generation successions. Some.

Count Thord Bonde Ford Christopher Frick Chris Fitter!!!!

I like all of the Hutcherson Columbias (there were only three). They are all "produced" and are obviously "targeted", but...they are all quite well done, and no false tones are struck. And everybody plays, there's none of this "holding back" that such things often ended up with. Fusion? Reall? Or maybe just letting what was already there step into the mainstream spotlight? I mean, everybody should know about "Un Poco Loco", should they not? Still do not pass on the aforementioned Solo/Quartet on Contemporary. It is a true masterpiece.

Carnegie Hall caught off guard, as I guess almost everybody was, but still... https://www.carnegiehall.org/Blog/2019/01/Unexpected-Thelonious-Monk Still, hope springs eternal, realistically or otherwise.

Exactly. Even with the 24/7 No Admission Holographic Concert Auditorium...it's a trap. It's a goddam trap that will suck the very soul out of you.

The search continues...

Nor did Boris Rose, I'm sure!

Ok, CORRECTION NEEDED!!!! I found the paper, found the article, and my memory is only partially correct - he does talk about coming out of the road-cocoon and the shock thereof, but he talks about it in terms of the change in rhythm and in black popular taste. and he is very frank about that. But the Coltrane thing, he does not reference that, although it seems obvious to me that it affected his personal playing as much as the other did his gigging expectations. There's a separate "Thank you" article that he writes in a tone that some would call "bitter", but I have to call fully reality-based, and darkly humorous. I really hope that somebody somewhere has a digitized collection of this newspaper...the contents, the tone, everything about it, is something that does not exist today, could not exist today...like did you know that Larry Ridley hustled gigs as both a bassist and a fashion model? This paper is just FULL of stuff like this, very much a "Black jazz community" thing, priceless stuff.thing.

down beat 7/18/1974