JSngry

Same here. Might even be my most favorite, at the end of the day. The synths on that album...way ahead of their time (in pop terms). Just sheer brilliance, no matter how eccentric. Brilliant and in total command of his instrument/band/studio. Not one false move or note on that one! I remember those years, the "Brian Is Back" years, and got the impression that Brian at that time was pulling it together because he wanted to, and then it seemed like he stopped because he didn't want to. Simple as that. The SNL appearance was a little bit of all of that. It was obvious that he was not yet well, but it looked like he might get well, and then he didn't. I love it when he geeks out (TWICE) about Spector & Pet Sounds...if anybody else would have spouted all that, you'd call bullshit on thier pretentious ass. But this guy, that's EXACTLY where he was with that. That's about the most hinest explanation of that I've ever heard. The dysfunctionality in that family and organization is extreme by even American standards. I really do think that he had to get out of it by any means necessary, even if it meant shutting down his gift. That he got back in at all is a testament to the power of...something.

Ok, wasn't sure. Saul Goode then. Looking at Pulsar...it doesn't look like something that would have naturally landed there...looks like a R&B label mostly. https://www.discogs.com/label/157960-Pulsar-Records US soul record label located in Los Angeles, California and founded in 1968. The label's president was Irwin Garr, and the label was distributed by Mercury Record Productions, Inc. The label signed the production duo of Mac Rebennack and Harold Battiste (Halmac Productions), who produced King Floyd & The Three Queens for the label. But there was an almost immediate (chronologically) intersection with Morgan Music, the UK label which released the Sounds of Latin record as well as this one (ANY idea what it is?)

So, yeah, I would not automatically believe that just because there's nothing else listed that nothing else was recorded. It was Belden who produced the sole American reissue of it. Note this note: One "complete evening's performance" eventually took up 2 CDs.

That was a Wolff production, so...different records kept, perhaps? How deep into the Butler stuff did Rupilli get?

well, label color is meaningless, but who you network with isn't! So, since Raim was already maybe working in that general area when he was with Mercury, maybe he got her name around that world, or something. It's not like people just call you up and say, hey, we've got a pretty beneath-the-radar sub-sub-sul label here, you want to be on it? Also on Mercury, Spanky & Our Gang, whose more "deep" cuts are would not be out of place here...so something was going onat Mercury in the late-60s, although what it is, don't ask me. Somebody there knew who she was at some point, or else that record would not be on that label.

I would not automatically take that at face value, seeing as this was a George Butler thing.

This may or may not be a synergy, but that Voices In Latin record was released in America by Pulsar, which was a subsidiary of Mercury, which was where Walter Raim had been a few years before.

Liking it.

I wish there was more with Philly Joe.

I'm talking about Grant at the Lighthouse.

Amy Jo Mithington - Tonight We Will Plant My Garden

Now...is there this much more of the Elvin Lighthouse material? Or the Grant Green? Can't say that I gould get hyped about wither, although I do wonder what other material Grant have played other than what got on the record.

Brass Fantasy The DeJohnette Complex or Have You Heard?

I will look for this, thanks!

That 'Hideaway" thing is especially nice. Are there writer and arranging credits for that?

Michael D. Anderson, yeah.

Indeed! I just played around with viable options. The thing that has me "excited' is having the piano into on "Images" open the album, it really does seem to set the table, not unlike Bill Evans on Kind of Blue. The way the album unfolds and reveals after that is pretty damn co!

Same here, but even today it's s like he's the guy who is almost George Coleman. I guess that's his voice, because, yes it is almost immediately identifiable!

I like that! Is it still available? How was this record marketed in it's original incarnation?

I've gone ahead and got a few of the most recent bandcamp issues of a few early Saturn things and do have to (gladly!) agree that the sound is a lot clearer. I don't know if it's master tape quality, but it is clearer and "better" in an objective sense. But also....it's kinda like hearing Pet Sounds in real stereo for the first time...a bit discombobulating, and it will be a generation or two before it really sinks in that those records didn't REALLY sound that way until relatively recently..like until after a lot of people who know differently are dead and shut up for good. Until then, it will always subconsciously sound like a trick! What I'm really going to have to do now is clean off the top of my turntable and get my ABC Impulse records out and see how they compare to the Evidence reissues. Because apparently Alton Abraham (and Ra?) brought them SOME kind of tapes, and came and then came and took them back. Were they master tapes? Hell, who knows? Were there even any actual master tapes around then? Or now? The stereo stuff is beautiful, but it is not exactly "pristine", if you know what i mean. But going forth, yeah, that bandcamp site is where I'm spending some more time if there's not newer CD available. Probably... Either way, I've lived with what I am calling "he liner note track order" for a few days, and am really liking it. A lot. But hey, it's files. I can change it back any way at any time I want to. That seems like The El Saturn Way Of Doing Business anyway!

The thing about evolution is that it's a real-time process. Not always pretty, definitely not settled in advance. you don't know where you're going, not until you get there, but after you've got there and maybe even start to leave. And until then, you might not even know if you're going to get anywhere. You just don't know. Neither Elvin nor McCoy landed on their feet right away, either financially or musically, unless you think that Joe Farrell was a step up from Coltrane and/or that bands assembled for record dates are the same as a real working band. On a completely different track, I'm moseying on through the Weather Report book, and damn, the motherfuckers would change players on a whim just to get the people they wanted NEXT, never mind RIGHT NOW, and they weren't necessarily always nice about it either. But that was something else altogether. Just saying, Joe & Wayne were both in long associations and know how hard it could be to get a band to change. At some point, you just don't get the band to change unless it wants to change, and if that's not enough, you get a different band. It's never easy, because these are people you've bonded with in so many ways, maybe even more intimately than a marriage, or at least a different kind of intimacy. So if some of those records make you uneasy, that's ok. But that's just the way it was, and you don't get to whatever other side there was (and imo there definitely was) without that happening first. That's just how it was, and really, that's just how it had to be. And I'm going to go out on a limb and say that that one person was probably not Zev Feldman, that GREAT "jazz detective" and native of Palo Alto, California.

Who was looking for it before now?

Mahanthappa for sure, at least when the Carnatic thing comes into it. That's such a total reimagining of what to do with the instrument...not his idea, obviously, but that he didn't run from it but to it...much props! Bitches Brew or Brew Moore?

You really cannot separate the music from the physics. Don't get sidetracked by all the talk about the "spiritual", that's too often used synonymously with some concept of the unrational. They were definitely looking for something "beyond", but they were using science to direct them. Ignore Trane's comment about Ayler dealing with "the higher partials of energy" at your peril. Just my opinion, but the big reason for Interstellar Space being the supreme accomplishment that it is is that it's the moment when all the equations got solved. Einstein died without ever figuring out his version of a Unified Field Theory. Coltrane did. Not much of a marketing angle there, science, especially theoretical science, is not very sexy, especially when put up against the industries of "god", they're set up to be competitors, either/or, but that's a suckers game. Ask yourself why music in damn near every idiom is stagnant and/or devolving - imo it's because society doesn't find truth preferable to comfort. Truth makes you free, and free means you have no excuses for yourself but yourself. That's a helluva burden to bear, right?

I'd recommend a combined reading of Simpkins and Porter.