JSngry

Probably missing the point to label Stitt a "mathematician". He was a comfort player, pure and simple. And he developed a pretty damn high skill set with which to be comfortable. When he was motivated to push, he could push. and when he wanted to coast, he could coast as well as anybody, better than most, and maybe better than anybody. But he was in no way a "thoughtful" or "analytical" player, that's not the world he lived in, ever. He lived in a world where you got on the stand, defended your honor to whatever extent you needed too (and that could change at a moment's notice), and then...whatever the rest of the night had, go to that. Comfort, not just from playing, but in the life itself. This only sounds "condescending" if you don't have the fullest amount of respect and love for that kind of life. I do, I definitely do. Talk about a "pure jazz life"...no teaching gigs, no studio gigs, no hi-profile publicity gigs, no day job (not even occasional) just...go and play and then do it again. Period.

Dude, you know some weird people.

I'd suggest talking to Steve Swallow...he almost dunked the spill on the origins of The Real Book, and it "seems" like he might have at least been around the parties at the time?

I like it when my wife brings home enchiladas unexpectedly. That's something I would never do for myself.

and just like the earliest Ornette record. Their voices were different, but their impulses, I think, were similar. Harriot suffered in the US, because by calling it "free form" and by playing alto, the US Critical Myopia lumped it in with Ornette, because, you know, not a lot of room in that mindset for possibilities other than one thing = imitators/followers, and besides, thre's only one type of "free" in this life, right? But they each are different, both from each other, and both from the norms of their time. Seems like this "free" thing has room for nuance after all! LOL!

Ah, that's interesting! Add Barry Gailbriath to Nancy Steele...keep finding overlapping connections, sooner or later a picture will form. A fuzzy one, maybe, but...

AFAIK, that's the only jazz record he's on...I had DJs on a cassette for several decades, strait outta the kutoutt bin, had no personnel or anything, and I spent years of hours driving around trying to figure out just who the hell that OTHER player was...especially :"It All Depends On You", what a perfect, compact, swinging, SOULFUL expression that was. I mean, I went deep into the hood asking all the cats if they had this record and if they did, who was it, and, you know, EVERYBODY had Sonny Stitts records, and lots of them, but nobody had THIS one (it was then I realized that Sonny Stitts made SO many records that even if you had a buttload, there were about 20 buttloads more that you didn't have...). So I drove around some more, wearing that cassette out (but fortunately, never breaking it). Finally, I think it was on board Krypton, I got to ask, and I think it was Chuck said, oh yeah, Johnny Board, great guy, played bari for years with BB (or was it Bobby...BB, I think)., so...Chicago...in my next life, if there is still jazz that means something, I want to live it in Chicago.

Facilities Luxury Mountain View Washer/Dryer Fireplace - Gas Flat Screen TV Fully Equipped Kitchen Coffee Maker Patio Area with Outdoor Furniture Dining Room Dishwasher "Luxury" is a facility? "Mountain View" is a facility? Today's world....

But this is Hank. Don't ask patience of any of us!

Yeah, but then you added, "Be patient"

That's a good record. Who the drummer is on that one please?

And he had John Board on, uh...board. I treasure the side for John Board...and Eddie Buster. That type of Chicago "local" can carve any ass at any time, if not always down to the bone, deep enough to cause a permanent limp! And if we want to keep a running total in the Kick-Ass Left Bank Record League, the standings are Sonny Stitts: 1-0, LTD: 0-2. Sporting News will give you the boxes

Earl May The Duke of Earl The Duchess of Prunes

I see what you did there.

This Chatam label, that's what's piquing my curiosity above all else. This looks like a kind of nexus that Jordan could have been in in 1960...only there's not record of the label being around then, so...what's the deal there?

In between Tune Up! + 12! was Constellation, which is for my money, the most consistently brilliant of Stitt's LPs...DAMN that's a good one from start to finish. but that period was a peak of sorts, maybe his last. He kept making all kinds of records, none of which were great, even if a number of them were good. This is just who the guy was, it was how he lived. It's not really a contradiction to say that he had greatness in him and showed it when motivated. but he also didn't always want to. And that didn't seem to bother him, so...I don't let it bother me.

Good riddance to bad rubbish. That was some sad bullshit that never should have ben allowed to happen.

https://www.discogs.com/label/1053022-Chatam VERY limited output if this is accurate. One LP from 1958. that Nancy Steele record has Barry Gailbtrath on guitar, which proves nothing, or even half of it.

Chatam Records?

Hell, if writing somebody else's name and number on a cocktail napkins were a crime ..the most basic of paper trails, that is!!!!

I found a 10" Oberlin on green vinyl in a thrift barn in East Texas for, like, a quarter or something. No cover, jsut this beat up old record. I took it, this was before CDs, so...you never know, right?

She called up women and told them. Which if true - if true - would have been the responsible thing to do. Miles died in 1991, 30 years ago. Whole different world then, in so many ways. None of this is relevant except why was Miles suddenly revisiting all his old music after pretty going out of his way to do anything but that...because he knew he was going to die soon, that would be my strongest supposition. No other reason makes sense to me.

The liner notes claim that Geo. Russell was responsible for the substitute changes on "If You Could See Me Now", but SJ said in an interview that Bill Evans wrote them out for her on a cocktail table napkin at some club, before the recording. So now the mystery of who wrote them on a napkin has been solved, right?

That twofer was on Atlantic, and same here, it was all there was for a while. Hell, most of the Columbia's were OOP, period. Carnegie Hall was always there, as was Greatest Hits...past that, you had to go to a "real" record store to try your luck. The Atlantic records were still all there, as were the Concords. But at that point, Columbia was like, oh, we got a classic live 2LP, we got Time Out, and we got A greatest Hits. We done. I found this one in a TG&Y discount rack and this cut took immediately and forever. The rest of the record is actually quite nice, but this one cut seems sublimer than usual, especially by this late date: Oh, speaking of Columbia, they still owe us a Live box to go with the Studio set. I don't care how cheap it is, but somethings are just right to do because they're right to do. There's a lot there, actually.