JSngry

The Three Naughty Stepchildren - Anyplace But All Over The Place

"Intense" is how I remember good live jazz always being. It was kind of the point of being there listening. You can be politemusic at home. For that matter, it was the same way with all the funk and blues bands too. Like that song said, if you ain't gonna get it on, take your dead ass home.

I think they were maybe trying to get a bunch of stuff in the can before he switched labels...although that Canyon record probably had the last-laughing at that idea for a second.

He lived in Arizona (Tuscon?), which is hardly encouraging...

From Solovox To Supersonic - my homemade Sun Ra assemblage of the Saturn Catalog in chronological/session order from 1948-1956. It breaks up nicely into two LP-length CDs, with the break coming where the first Transition session is, and then, the two cuts from the second Transition session that didn't make it to Delmark. Using all the latest mastering, except for the single version of "Saturn", which the Strut Singles album fucked up on and didn't use, and the early cuts from Deep Purple, which to my knowledge aren't available yet(?). The great thing about the (relatively) cleaner sound is having more detail on exactly what Jim Heardon was up to, which ends up being really interesting. Drums, electric bass, and tympani, all sorts of shiftings of rhythmic gravity going on with that combination, Max playing tympani with Monk...where did he get that idea? Who knows? But this, this is here.

Indeed, nicely done!

Who knew?

Mobley with Morgan! Throwing this back out: In terms of music records only and objective enjoyment of same - Bill Cosby or Steve Allen?

All of them. There's Joyride, a big band date arranged by Oliver Nelson, and the two with strings albums arranged by Thad Jones (iirc), but any other large(r) ensemble Turrnetine record done for Blue Note was charted by Pearson.

Congrats on the gig! Is this online only, or will it be in the print edition also?

I didn't either, but that was my bad. The aftermarket price I eventually paid for it was more plump than plop!

How this got left out of the Mosaic Select of Pacific Jazz piano trios is beyond me.

There was a mini-"series" of those in 1981, under Capitol...Gerald Wilson & Buddy Rich I can remember, probably a few others...Jazz Crusaders, maybe? I think the only difference was color scheme, at best. People who complain about the "generic" Blue Note LT covers have no idea just how generic corporate minds were willing to get...and people who don't realize how close to death Blue Note was, hey, look at this, from 1981:

Schwanns...I remember looking at them every month for a little bit to get a list of the diamonded records that were going to be deleted and carrying that list with me out on record runs. This was later, when there were meaningful record runs to be made, like, after I moved into a metropolitan area and there were mom-and-pop stores everywhere, plus chains with independently maintained inventories. A Sound Warehouse in North Dallas would not have the same inventory as one in South Dallas, so you had to shop around. Never mind finding some little (literally) suburban mom-and-pop store that had been open since the 50s and just kept records in the stacks to give the dust a comfortable home. You know how they got dog whisperers and horse whisperers? I swear, some people are record whisperers. although, really, I think it's as simple as not being afraid to look any damn place. They say you can't prove a negative, but I say screw that, yes you can, you can definitely prove that that placeain't got no records, but only by going inside to look around and ask questions and always be polite to cranky old people and young people with guns.

Streaming WDET Family Dance Party, spotlight on Otis Redding. I'll take this any time, any day, any ANYTHING. It's his birthday today, not that anybody should need an excuse.

Thanks, but it was as much a matter of personal circumstances as anything. No need for details here, but let's just say that I was adopted (less than a week old, but who knows what's in the subconscious) into a family full of simultaneously existing opposites in damn near every way. Suffice to say that "both/and" seemed both more logical and natural than "either/or". Even when it came to deciding "no thanks" to "rock" post-Beatles/Hendrix for my first years of jazz, it wasn't that I didn't like it anymore, it just seemed...unnecessary, redundant, regressive. I still feel that way, although, sure, exceptions along the way. But eliminating that teenage social-programming music freed up a LOT of space for a LOT of other things. Plus, you know, there were OTHER radio station all up and down the dial, if you know what I mean. The deeper into jazz I got, the better R&B felt, for reasons that were then intuitive and are now blatantly obvious. Between cutouts and radio dials, the curiosity landscape was totally different than it is today. But the internet provides at least as much opportunity., even if it is too often a breeding ground for sloppiness in both thought and execution. Still, if I tell you that I got a JJ Jackson record with Dick Morrisey on it, you can find that out pretty easy. I can also tell you that it's not quite as fantastic as one would hope for, but you'll have to decide that for yourself! My regret is that it took me too long to more fully engage with Western Composed Music...but, you know, we get where we get when we get there. The important thing is to just get there and then not fuck up the chance by listening to what you think shit is rather than listening to what it really is - meet it on its own terms, and do what you need/feel like you need to do to get there. THEN you can start thinking about maybe having some kind of an opinion. Until then, you're just going to hear more of yourself, and what you want to hear is more of other people.

You're calling 30,000 a "small town" and of course it is, but my hometown was, like 5,000. It was in the oil patch, so there were a lot of similar towns around, but not on top of each other by any stretch. And the daily high school environment...our graduating class was about 110, and it was the largest in school history. And yet...we had an "award winning" stage band, even if we had to go to a festival in Louisiana to win those awards! To bring this back to the original topic, I did not have any self-imposed restrictions on record-buying other than price. I literally knew nothing and did not want to miss anything, so I bought everything I could afford. Literally, everything. Because I felt that I could not afford to miss anything. I like to use the Wayne Shorter experience as an example of not knowing any better paying dividends. In the space of about a year of jumping headfirst into this thing, I had heard Wayne Shorter on Indestructible, Miles Davis Greatest Hits, and the first Weather Report album. All I knew was that this Wayne Shorter guy always sounded good, was always focused, and played in a lot of different types of bands. Pretty much still how I feel!

What I've noticed here is that most everybody not just had access to good record stores from jump, but also that your times of discovering jazz took place in a college town and/or a reasonably urban area. That was so not my experience, I lived in a small town in semi-rural East Texas. But a lot of weird stuff was in place here, time/place/people. I feel cosmically blessed that this music took root in a person who by any normal standard should have just....done something else altogether. But, as I learned later. Many musicians of many stripes come from small towns, country folk. Didn't know that at the time, though.

I think I saw that one at one point, but it was long past the time they could have told me something that I didn't already know.

I never have found that Bob Hope record on Cadet. Never even seen it.

I heard that!

Sounds like all you guys had access to decent record stores at the time you started getting into jazz. Lucky people! I more or less bought what was there because it WAS there. The upside of that, I guess, was that when I finally got to an area where I could play connect the dots with any regularity, there were already a fair number of dots already. But before then...if it looked like jazz (or some kind of "jazz rock") and it was cheap, hey, it followed me home, honest, including that Ars Nova record that to this day I still don't see what the fuss was about. But also that 99 cent Joe Dailey Trio record, and not until Hal Russell were there dots to connect there!

Maybe you can do some work for him, then. He seems really busy!

70 doesn't seem nearly as old as it used to...RIP.