JSngry

Name FIVE People? Raising the bar!!!!!!!!

Larry Fine Robert Young Mr. Gone

What's the deal with being "nice", anyway? Who cares? There's many points in between being an executable felon and being Mr. Almost God.

That's respect.

If jazz musicians keep playing songs that people no longer know from musicals and movies, how is the listener going to be able to understand the musicians' improvisations? FOr that matter...if jazz musicians are playing songs that they never knew from musicals and movies, how are they going to be able to understand what the hell they're doing, never mind why they're doing it? Ever notice how the younger the players and the older the sound the higher the odds of both cluelessness and ticket prices? To say nothing of wardrobe choices that make coggish replacementality more likely?

"The Mills Brothers" were the leader. How they divvied that up...business, contracts, etc. Which were drawn up by...who? I'm sure that the older they got, the more leverage they had, but I don't know that for a fact...but they did record less as the years went by. But they still had a genuine hit record with "Cab Driver", and when was that, 1968-36? 1967? And that record with Basie, oh my, that one did pretty good (I hope!).

Yeah, I kinda don't think that "standards" should be the "core curriculum". The core curriculum should be understanding of what it means to be an improvisor, period. And then - how can you improvise, how will you improvise, and then what materials will you choose to improvise with? But they should be presented, and goddamit, with lyrics and context. Not just vehicles to play changes with. Otherwise, your not teaching jazz, imo, you're just teaching a skill set to get you into the machine. More cogs, please? No, please don't do that.That shit is past tired and right now is pretty much a living death. But - lyrics matter. As do overall structures, verses, etc. Too many (FAR) too many instrumentalists today either act like they don't even know the song has lyrics that actuallu tell a story, or else...they really DON'T know. And songs...I am officially tired of songs. But still, a good song meaningfully presented...yeah, that's ok.

I don't know of any song that can't be tainted (or worse) by a bad or indifferent or just....unaware performance. I don't care if it's vocal or instrumental,

I think the group gets paid for making the record, that's it, unless a special deal is in effect. Otherwsie, royalties get paid on writing and publishing. Commercials/jingles/etc. that's a different structure. There, the performers gets paid on a per-play basis. As far as revolving-door bands, though, there would have to be a language in the contract to get anybody paid more than the session fee. And I'm sure that for groups with star poer, there is. That's been my experience, anyway.

https://secondhandsongs.com/work/43270/versions#nav-entity

Timbre, inflection, and cadence, People very often play as they speak, and vice-versa. Even if you've never heard them verbally speak, theiri music still has those qualities. Plus, not everybody that has a strong voice has a unique voice. But you're also right, it does take time to learn a voice, especially since it's all on record. It's not like Stanley Turrentine is out in his yard every day for you to hang out with and shoot the bull.

I think the Jay Livingston song is the one that is most familiar in a "jazz" context: https://secondhandsongs.com/work/29045/versions#nav-entity

With certain players, it really is a matter of them speaking in a voice, literally speaking, literally in a personal voice, same as if you pick up the phone, and as soon as they speak, you know who it is.

Connective tissue between Ellington, Taylor, Bley, and the rest of the jazz piano trio corpus profundo. As is the universal norm, it's the left hand that roots the anchor. Quiet as it might be kept, Sun Ra had one of the strongest left hands out there. Or in here.

My thoughts as well....unless 1972 was the release date and the session(s?) were older?

Advertised on the back of Southern Horizons (two different sessions, btw, one engineered by Joe Meek!) is this: Another JAZZLAND album of British jazz is: The Message from Britain - TUBBY HAYES and RONNIE SCOTT Jazz Couriers - JLP 34 & Stereo 9345 Gotta love the unpredictability of the cover art...

Don't get rid of anything that you wouldn't mind never being able to access again, just in case things get weird out there.

McLaughlin is only mentioned here, and with no supporting evidence: https://www.discogs.com/Barbara-Moore-Vocal-Shades-And-Tones/release/2299928

It might well be a lost math for all we know, used to hide/code "advanced" ideas or something, especially considering the time period. Hardly a new way to do things, even then...

Hell, if you could get a bill like that for $30.00 today, it would be even more of a bargain!

I know, just haven't heard anything yet that "transcends". Tried that Clarke/Boland stuff, didn't really sink in. But I have an admittedly/relatively small sample size of this stuff, which certainly appears to be massive in scope. Did I read the one Discogs page right that John McLaughlin played on the S&T record? Shouldn't be surprised! What about that Chiitra Neogy record? What a trip!

He played alto on the 1977 SNL episode that he hosted. some crazy setup, the band was playing an instrumental, everybody soloed, and then he popped up with his alto and took a chorus! Great episode, with the classic band, Fathead, Hank, Hog...a memorable evening for sure!

Has anybody looked at this stuff mathematically? Like, as equations?

But why did they write it like that to begin with?