JSngry

Cannonball on "Milestones" (the song) is damn near embarrassing (and I've heard some of the hugest Cannonball-philes ever say that), and Cannonball on Kind Of Blue (minus, of course, the blues) is only somewhat better, probably because he knew what was going on and figured out how to at least cover himself. But to his eternal credit, he could multitask and not lose sight of anything, career or music. I think it was a question of hearing where all those notes needed to fi, but not yet knowing what those notes actually were. Pretty common problem when learning shit, actually. Reach exceeding grasp, or however that goes.

But keep in mind - Golson & Barron were both Philly cats who were, in Golson't words, all studying the same thing. So it's like they would have known how Trane was getting there, even if it was something more than they had gotten to yet. Those Philly tenor players - Jimmy Heath's another one, so is Odean Pope, they all studied together, these guys did not each hole up in isolation chambers, you know? There was a lot of mutually known/shared data there. Cannonball...a Floridian band director, not even the same thing. And yes, he was awkward as fuck for the longest. And i think he knew it, and he knew that awkwards as fuck is not a good look for an aspiring bandleader. So yes, he took notes, and worked on it on his own time, at his own pace. But make no mmistake - he heard it, and knew that he needed to get it.

Not if one is seeing a furtheration of a path one is already one, but then one is not being "left behind" by not pursuing further/expanded knowledge, one is just "calling it a day" as far as further learning 9of that particular thing goes. Like Trane's "3 on 1" thing...that got a little bit of attention, but not nearly as much as the vaguer, less rooted in reality, "sheets of sound" thing. The 3-on-1 thing was totally rooted in theory, math, actually do-able extrapolations of/from playing changes, you can do that yourself by looking at what you're already doing and now doing THIS with it...and doing that math may or may not give you even more idea about ways to work with that math. George Russell's Lydian thing, that's another thing...never got into that past skimming it, but, yeah, if you REALLY get into it, there are ways to get into that and see what you can see. James Moody is one person who got into it (allegedly) and you definitely heard an evolution in his playing, he showed a noticeably broadened awareness of the implications and possible expansion of a song's basic changes. and really - none of this is a deviation away from the basic impetus of bebop, which was as much about new extensions and substitutions of original song changes as much as it was that still-intrinsic rhythmic bobbing and weaving. Math and dance, the perfect synergy. Of course, none of this is a guarantee that you will have an inspired math, this stuff is means to an end, not the end itself (hopefully...) but as they say, if you don't go, you'll never know.

Oh, ok. The paper is not so brittle enough that it can't be opened (almost is, though...) but it definitely cannot be placed on a scanner, at least not the one I have. I'll try to take a camera photo of it and see what can be done from there. BTW - Woody Shaw is on the cover and it's got one of those "Bebop Is The Music Of The Future" ads by Maxine Gregg and hear company. I know how you like Woody and have thought about braving the scanner before now, but this shit is REALLY brittle. Like I said, a street paper.

? Sorry,, but i won't. "Hip" had nothing to do with it (at least not for anybody who took it seriously enough to go deeply into it. It was simply new knowledge. You're already playing changes and trying to find new things to say, and then THIS comes along, and it's like, oh shit, now there's THIS. And you know, you either decide that you don't want to deal with learning that, or else you go ahead and learn it. Benny Golson was another one. There was a Cadence(?) interview with him where he said at first, Trane was like, ok, we were all working on this in Philly, and then one day it was, oh wow, we weren't working on THIS. And when Golson came out of his studio writing years, it was with a very expanded harmonic palate. Cannonball was another one. Hell he stood right beside that for long enough to hear it in the realest of real times. And ture to his style, he took notes and took his time. But he paid attention, and learned. Cannonball in, say, 1974 was nothing like Cannonball in 1964. "Hip" is not synonymous with math and science, you know?

It was in some hyper-local NYC jazz street paper that I picked up in 1979(?). I still have it, but the paper was so cheap and is now so brittle that I'm loath to pull it out to scan.

We do indeed know it, although not intimately, not yet. But it's here to stay.

Elias Howe Dickey Doo Jordan Yadoo

Please! The few seconds they showed of it in that Ayler doc was a crisp, well-recorded video and it will wake the shit up out of you. STRONG! But fleeting.

I don't know about Carl Wilson or Frank Robinson (two players for whom Google will immediately direct you to other, more famous, people), but some people come from smaller towns, or at least not "big cities" and prefer to go back home after they get done with the road thing. It's not like they had chartered busses or planes or hotel suites or anything like that, that life was probably kinda hard, especially if you liked being home to begin with.

Machito Manny Machado Alexandru Machedon

This is a good record,

To play a gig like Gator's, you had to be able to travel, and to be happy being away from the spotlight of a big market, like New York. You just had to be able to play the gig and be ready to go to work wherever that gig was. Chitlin' Circuit Reality. Joe Hadrick is aka Yusef Ali and actually worked a lot with Gator over the years. Carl Wilson & Frank Robinson certainly seemed more than capable as well! https://www.discogs.com/artist/477106-Yusef-Ali

whoa...

Are hotels and airfares going to be refunded as well, if need be? Maybe life here in Texas has warped my perspective on the pandemic, but it seems that there are still plenty of crazies left who are keeping this thing alive unnecessarily, and the longer it stays alive, the longer it has a chance to mutate into something even more deadly. Looking forward to the 2023 festival, hopefully.

So whose voices was he hearing? Arthur Lee's, Art Porter's or Art Taylor's?

I wonder if Dot Time Records might be a destination for this material? They did the last major Tristano release. Me, I just want Mosaic to get the freakin' Black & White set to market before I retire.

I know, brave new world, right?

Except Norman Rockwell.

"Swing it up, it says yes"...that's about as jazz as it gets!

and Barry Manilow. you swing them both up, they say yes. For her it's in the contract, for him it's in the chart.

So Arthur Lee was actually Art Porter AND Art Taylor? Geez, no wonder the guy was so confused about life...

as with most cover versions, this is not as good as the original: Swing it up, it says yes. Take the shot, count it down, rip it off. Indeed.

I read an interview with Foster somewhere where he talked about the shock he fet when coming off the Basie gig after all those years. It was a very cocooned existence, so getting off the bus and into reality and hearing everything that had changed since the last time he really paid attention was a pretty big shock to his system. ESPECIALLY Coltrane, he said it was like, oh shit, I gotta start all over now...so he did. He did the work and figured out the math. I have a lot of respect for him, because of that. He didn't have to, he had a name, a rep, a brand, he could have just rode that of into the sunset, but he decided to do some more work, some new learning.

This thread is supposed to be an expression of concern about Chris Testa.