JSngry

Tony Williams "Somewhere In The East".

Rob Manfred Mann Ray

If this is what I think it is, there's a video of it, and it was on cable one time at one point. Yers, I saw it, and...not sure if "delightful" is the word that comes to mind as much as "sad"? Not bad, sad. Here's the TV show: https://www.dailymotion.com/video/x2x7hq7 Miles' talking about if I ever go back, I will die...pretty much accurate. ALWAYS wanted to hear his current iteration, whether or not I "liked" them was hardly the point. And his last "real" band was poppin'!!!!

Ok, that's ruight, they did release them in record order rahter than seeion order. It's the session order that I had to reconstruct. Usually I'm not that ambitious (excpet on a hard drive), but in this case, it was such a uniquest day of recording, I wnated to hear it that way. No matter, the music is far above par no matter how you parse it.

Hope that all is well in Burrell World!

indeed, should be "writing". Fixed in edit. Oh lord no. Not cancelled. Just deflated to a more reality-based scale. In other words, he will still be there. but his fat bald cigar smoking head will be one of many. Somebody mentioned Arlen...yes, Arlen damn near always has better songs. As does Kern. As does Rogers/Hart, as does...a lot of otherss. You want a big, easy-fit batch of superficial, go with Gershwin. Otherwise, there's more, and there's better. On the whole, of course, which is why cancel is not even tangentally relevant here. As for Hamilton...what I've seen of it is the natural byproduct of what happens when you let a mediocrity like Porgy & Bess become an "icon". Everybody starts thinking that THAT'S where the goal should be, and you get stuff like that. Rerun culture. Yuck.

Let's see what we have here... TRACK ONE - Art Pepper with the Miles guys. Too much of this era of Pepper ends up sounding corny to me, and this is no exception. Corny is not bad, it can be fun. This is both. But it is corny, or at least as corny as Philly Joe will let it be. Thank god for Philly Joe! TRACK TWO - Damn, that almost sounds like a valve trombone, or a baritone. And moany too! I like the piano chords, if not their rhtymic place ment. Tenor's arc is a bit too symmetrical for me. If that's JJ...he's more, uh, exclamatory than I came to expect from him, and I'm not sure if he sounds happy in what he's exclaiming? Maybe it DID enter his mind? TRACK THREE - There are lyrics to this? There should be? I think it would make a better song presentation than improvisational vehicle. Those Harmon-mutes Miles Placeholders were big for a while, like Mark Isham to name but one. It's ok, they were role-playing and that's what's called for sometimes. This tune seems like an offshoot of an offshoot of "Circle". I like it, but do think it would be even better either as film music or as a song with words. It's a wonderful composition. TRACK FOUR - "Angel Eyes". O....k....Ron Carter, obviously...not sure what to "do" with this other than, yeah, great players, and then...I dunno, Piano trio plays Angel Eyes with grace and aplomb. I guess that's it. And Ron Carter again gets recorded like that. Thankfully he was watching his pitch this time. I never understand the times that he didn't. TRACK FIVE - This one kinda bugs me...like Threadgill with ALL the quirk removed. Is that Arthur Blythe? Oliver Lake? Blythe, right? I hear what they're doing, it just does not engage me at this time. Credit for at least saying something, I suppose. TRACK SIX - But this definitely does, always has, probably always will! But NOT from The Individualism Of Gil Evans, at least not originally. For the OG, it's here! And no Gil Evans completist can be without it, it's got those warmup takes that Gil got all pissed off about. The rest got put in the CD, and a woderful CD it is, but playing order....gotta go with the OG LP and then add those others at the end, imo. Opening with anything other than The Barbara Song is...wrong, at least for any record to call itself The Individualism Of Gil Evans, TRACK SEVEN - No thanks. Oh wait, that's Chick. Okay, thanks, but time to move on. transient fun is better than no fun at all! And Roy Haynes, always good fun. TRACK EIGHT - Benson. I almost included the alternate take of this one on my last BFT but couldn't find a place in the flow for it. But this is a really good cut off a really good record. And Clarence Palmer...would like to hear more Clarence Palmer. TRACK NINE - This sounds like one of those all but forgotten Bird heads that are a lot of work in a simple 12 bars...there's a lot of movement in those 12 bars. Ok, that's Kenny Garret. Trumpet is pretty non-distinct to me, but in a likeable way. Oh and now we add angular piano...sounds dated already....but there's a good energy here...maybe if I knew who it was (other than Garrett), I could fill in some currently missing connections. Maybe it's that early digital sound? TRACK TEN - How is one supposed to stand when playing this, what posture should a player have? Or is there not a correct posture for playing this? I'd like to think not, but I can't tell by hearing this performance. First impression is that the stiffness of the posture is not justified by the straightforwardness of the content. But tell me more, maybe? TRACK ELEVEN - Curtis w/Hank in on it. As far as what could have happened...there could have been more/better/different. As far as what DID happened, hey, there it is, and it is plenty good. I think that mid-60s Hank would have been a better listen over this groove, those stabbing jabbing cries of defiance, but this was not then, which applies to aT as well...Billy Higgins not available yet. TRACK TWELVE - Usually immaculately dressed, but here...got a gut already? Wow, shit shouldn't fit this tight unless it fits. Fortunately, the writing does this far better than does the shirt. And the soloing, as always, justifies whatever is on either side of it. But why did the use Cannonball on this date? (jk!) I'd like to think that's a cocked rifle he's holding, but that's just wishful thinking. TRACK THIRTEEN - Not sure I understand what this is supposed to be? "What The World Needs Now" is...purpose? Clarity? More than a little bit of this and a little bit of that kinda put together just to be there? Is this soundtrack music? Or an expanded jingle? Or is it supposed to be something for a rel record? I don't get it. Nothing wrong, but without knowing what the purpose is, hard to say it's really right either...I mean I can suppose, make some shit up, but this doesn't seem like the type of music that wants that of itself, sounds like they don't want you to crate your own scenario, they want you to hear theirs...and I have no idea what that would be. Good mix, had fun listening/thinking, thanks!

My preference is for later Scott, actually. The main likes for me are: This is one that I bought and enjoyed, but would not necessarily recommend. It's Scott playing in a Trad band, being fully himself and....maybe I would recommend it! Like I said, later Scott is better Scott for me. Once he got out into the world (ie - out of New York),..the space opened him up, imo.

Tristano + Black & White would both be solid gets for me Tristano might be qualified, depending on contents/associated players/etc. But unless it's all solo or trio or like that, yes, a very solid get for me.

For the Day In New York Session....good luck on that. Like I said, Scott paid for the sessions and parceled them out as he could. There was, as far as I can tell, no real "rhyme or reason" to them, and the end-result LPs weren't really hi-profile in any sense. But if you want the actual LPs, or want to reassemble them, here's what they are: https://www.discogs.com/Tony-Scott-2-Jimmy-Knepper-Free-Blown-Jazz/release/3768098 https://www.discogs.com/Tony-Scott-The-Modern-Art-Of-Jazz/release/5409988 https://www.discogs.com/Tony-Scott-My-Kind-Of-Jazz/release/3983128 This last one is "funny" because it was released on the Perfect label, which was a subsidiary of Epic, which was itself a subsidiary of Columbia. Pretty low on the ladder, I found a copy in the used bins a few years ago, but lord only knows from where it was from...these labels (the other two being Seeco & Carlton)...not exactly major labels then, so...not sure how many "original listeners" there would have been to begin with. But the session were splendid, the music is certainly most worthy.

Oh my, touched a nerve have we? Screed beginning; I'll skip the argument and cut to the chase - here on the srill-earliy 21st Century, our "heritage" is being driven by commercial interests instead of evolving organically. Big Lies are the order of the day, everywhere. As music and as culture, Porgy & Bess is either obsolete or it is rapidly becoming obsolete (yeah, you gotta work hard to overcome the troubling parts because they're hardwired in), so what's keeping it alive? Marketing, hype, fascination with ersatz blackness trying to be made "realer", a marketing of GERSHWIN AS HERO, it goes on It's not healthy, this hypelife-support system Both Anthony Davis and Missy Mazzoli are writing better American operas for today, too bad (lol) they're not writing pop song psrudo-operas, maybe then the culture cpuld breathe it's own oxygen again But right now, between the combined powers of GAS Corporatestates and Terminal Boomer Narcissism, 20th Century is hellbent on sucking all the life out of us it can. Tear down the walls so we can have a healthy examination dig of the city within. ;Screed ended

So...make it better than it actually is? That's a very...market-conscious concept, creating an image and then altering the product to fit it.

Scott hired the players, paid for the studio time, and the kept the masters to sell out as he could. I think he got 3 or 4 labels to take different pieces of it. This item compiles all of it in in, iirc, session order.

Chuck D still kickin'. Chuck T still in stores, but you gotta provide the feet.

That's like the timer two or two that they had Darlene's Love on Letterman with the with a full wall of sound orchestra. Excellent.

I'm with Chuck D on Elvis.

Or snootytooty wines, right? Cakes, eh? Do we know anything about this lady? I'm a pie guy myself, but people can get serious about their cakes, for real. For real, if there's no food, the ok. But if their is food and it's not some vendor after stuff, that's part of the total picture. As time goes by and ownership of the story changes hands, it's important to get as much of the total picture as possible, if for no other reason than so people can choose to see what's being left in and what's being left out.

Elvis was a transcendent figure for some people too.

Paul Desmond with The Bill Bates Singers! https://youtu.be/WDf_5CmagYQ

Not really disdain, just a really basic dislike. I think his "jazziness" came as much from avarice as it did affection. Not saying that it was intentional, mind you, it was the times. And his attempts to make a "classical" music show that in a pretty blatant way There is no soul there, at least not that I feel. Just...an avarice of spirit I am not at all a fan except on a song-by-song basis, and even then... there's always better to be had. Besides, it's time to get over all of that, again, imo. It's ALL about business now, all of that stuff. Musically...it won't be relevant again until all that stops, and that's not happening on my lifetime. People blame Disney and Beatles for the lack of a meaningful set of PD laws in America, look at the GAS, there's a fucking business machine there, too, and, really, is it going to let "Summertime" and such go into PD? Seriously? Not just Gershwin, any of that stuff. That's all I have to say about it on this forum

So homonymic spelling is ok? That opens up some more doors if so!

More than a Stan Kenton band, except for the mellophoniums!

Look at the number of people on that stage. That's work, a paying job. And if you got anything else you want to do, one of these gigs gives you more room to do it. Never mind if the money's mostly coming from Boomer creeps and other enemy types, once you get their money, you put it into where you want to go. But if there's no gigs at all... Besides, I think you gotta respect the hell out of anybody who respects the music enough to get into the details and proceed accordingly. Brian was not fucking around.

What kind of food vendors? Serious question, meant to flesh out the overall flavor (sorry...) of the events.