JSngry

Another myth shattered. Wait, it wasn't him whose tie that Ringo tried to cut, only Ringo had bad aim and since it was a bow tie, Ringo ended up giving BK a botched tracheotomy? That's not why BK spoke with a rasp and modeled his Hit Record Sound on the Miles group? I see right now that these DVDs of Behind The Music that I got at the DAV store must be bootlegs... Either that or there's a coverup going on.

Peg Leg Bates Nancy Walker Ernie Bushmiller

But he turned down the Beatles!

I am not opposed to thinning the herd by natural means, not at all. However, businesses (my employer included) are so hellbent on getting fully vaccinated people back into their worker farms come hell or high water that...I want a 411 on booster shots ASAP, that's all. Because I know how people do, people lie and don't give a damn about doing so.

but, it's the hip 50s Miles Davis sound reimagined for a whole new demographic! Two beat head, 4/4 for the solo, drummer dropping bombs, Red's comp passed among the sections, how is that not anything but JAZZ?!?!?!?!??!?! Oh, look, it's even got a Harmon solo! See, were did all the jazz audience go? They went to Germany and bought Bert Kaemfert records and sent them back to their left-behind illegetimate offspring, of whom there were more than the census showed on their books. Them sexy young people on the cover knew what time it was, and they didn't need to wind their stems about it! And even if some or none of that is true...I can say with totaly honest (and sincerity!) that I either learned or got familiarity reinforced) by listening to the Easy Listening stations that programmed this stuff. LOTS of tunes available, and if you were a kid who totally shut down on Top 40 (pretty much cold turkey, with a few months of Zappa as musical methadone) to go all in on "jazz"...for post-Coltrane, underground FM was there (until it wasn't), but for the standards (not even sure they were called that then?), the MOR stations were there until the record collection and fake books caught up. Just saying...Bert Kaemfert, yeah, I get what a shitshow it is once it gets outside of its own bubble, but inside that bubble...I appreciate it and in the way that only a survivor of that particular abuse can, like it. And even more funnily, it was YEARS before I noticed the voices everywhere in those charts! Whoever mixed that shit definitely had a total plan. And ojh, BTW, fwiw, Herb Geller took and kept that gig for a good long time.

I've heard both of those records and like them well enough. but it seems to me that she had bigger aspirations than making jazz records with Charles McPerson, if you know what I mean. I don't think that being taking an Etta Jones career path would have worked for her, at any level. Nothing wrong with that, just sayin...lotta different degrees of "show" in show business.

Baiting you? Oh my... Thank you for getting that...wish I could have made that more obvious, but...how?

Yeah, ok, I can be a pluralist here - Jesse Helms was entitled to his opinions the same as everybody else. Still, he was a pig. But not a GOOD pig, the kind you can eat or turn into a sitcom star. THAT would have been cool. But Jesse Helms was not that kind of pig. Sorry to be a monistatist about it, but unless you're on the side of the pigs....well hell, even if you were/are, you can claim him as one of your own. So yeah, Jesse Helms was a pig.

Totally a Village Voice sock puppet thing.

It was all that noise that Burt Reynolds made her have.

https://en.wikipedia.org/wiki/Jesse_Helms Jesse Helms was a pig, unless you want to be a pluralist about it, in which case, hey, he was entitled to his opinions the same as everybody else, and it's all good. But he was a pig.

And Dinah Shore had yet to return to the airwaves. That was still in the future.

Oh, fuck, brain fart. It wasn't "Everyday I have The Blues", it was "All Right, Ok, You Win".

I wish that Dinah Shore clip was up on you Tube, it's like, full Basie instrumentation, only voices. And they nail it, if not exactly in pocket, in every other way. She credits the MD with the arrangement, next time I catch the episode, I'll take not...Earl Brown, IIRC (not Earle Brown LOL)

and backwards across the centuries, to the Village Voice editorial board 32 year ago!

On that Basie side, check out the modulations on "Girl Talk"...on an instrument, I got modulations, you just read the new key and finger the right notes, different fingerings. I suppose the muscle memory thing is the same for a singer, but as somebody whose sight-singing skill were not...particularly developed, to hear a chart like this and knowing pretty much full well that the singers can do this shit all day long, just READ whatever as it comes, and do it RIGHT, in not a whole lot of takes (maybe just one), that's a level of skill/professionalism to be able to do that, just show up to the gig, read those charts ad don't sweat too much, if any.

The beginning of the present "jazz world" was when they put a name on it and started to sell it. Everything else springs from that. What was it Andrew said about "before the music got separated"...yeah, that. Besides, population explosions, communication capacity follows suit, the smaller the world becomes the lot more things "make sense...and stop making sense. It's so much bigger than "jazz". "Jazz no longer means people spirit, it means rote replications. Is it any wonder it's dead? but the human spirit is not dead (at least in some), and let's see what THEY are up to! And let's not call it "jazz", "jazz was a marketing word for a specific mindset of a specific time, place, and people, almost all of whom are dead and gone now. show the dead some respect and let them have their word...well, not THEIR word, the marketer's word. The people themselves have always been more than a marketing term.

For every voice, or group of voices working towards the same thing, yes, there is an essence that is being reached for. But not everybody shares the same goal, therefore, not the same essence. The Eddie Harris essence is not the Grover Washington essence...although, maybe it is, once you follow that essence outside of music and into the social spheres...but that's part of the music too, so....I strive, pray for, a holistic understanding of humanity and it's relation to linear time (a concept which I accept on begrudgingly as an organizational tool in the service of remunerative employment...so. how do you get to holism without pluralism - and if/when you get to holism, what next? the other side of the mountain? Or get off that mountain, right, what is a mountain anyway, it's just a piece of earth, and Earth is hardly the end of things! I really do believe that the important thing is to be able to empathize with really, first, what is the goal there, and then, and only then, how are they doing with that? And then, do I really care about that, and if so, to what degree. And then, the big one, the one that never ends - what's next now?!?!?! And as far as "pluralist"...tell me again how Gene Puerling is "too white" for your tastes...I still don't understand that concept. And hopefully never will. and after that, go check out Ed Wilkerson.

Not on you Tube, but on some off-brand Roku station there's an episode of a Dinah Shore S&H Green Stamps show from 1962(?) where Dinah sings "Everyday I Have The Blues" backed by a vocal group that replicates the Basie arrangement (was it Ernie Wilkins, I forget...) in large part, with a featured female singer doing a high note trumpet thing that is just CRAZYMAD skills..."swing" is besides the point at this level. and she sings a lot like the same singer here. But who knows. Those type skills, I enjoy them for the skills. Top-level, hardcore skills. Usually don't enjoy the music as much as the skills, but sometimes music isso NOT the point of it for me. the skills are.

I'm thinking New York? LP copies are plentiful-ish and cheap. Of course, I blogged mine, because free seemed about as much as I wanted to pay. But you know this session singer stuff, pocket aside, this is a really good group singing here.

Dude, you apparently have no idea how much of a pluralist I am. My inputs have been open to pretty much everything for a pretty long time, and they've gotten more open in the last 10-15 years or so. But at some point...conclusions are reached. If they aren't one is not really learning, one is just playing on a playground from where one never has to go to work. Glittery unicorns and feel-good participation trophies forever. In order to move on., one has to have something to move on from. You can't just always not have a perspective, that's for children. Adults have to....make up their mind about things - and then get right back to pluralizing those inputs. There's no end to them, ever. OTOH, if you reach some conclusions and don't resume the truly unanswered quest of what comes next, where to go from there, hell, you might as well die. And yes - Edward Wilkerson - know him or be WRONG. Well, with the benefit of hindsight...jeesh. With the benefit of hindsight, all sorts of things could have been better, and Jazz Critics Polls would not be in the Top 1000 of things we wish could have been. I used to read the Voice often enough to know what it was. It was NEVER going to be the thing that you are wishing. And I didn't read it for music, really. It was better for "issues". Their music coverage was...not prime. It was local, and "jazz" was not a regular component in a truly meaning ful manner, not for loooooong time. Burt Korral? John McDonough? They got some names on their I don't think ever got published in the Voice? You should look at the Cadence critics polls. You can keep going down this rabbit hole of things that never were, or maybe...redirect to more fertile ground. That, and listen to Ed Wilkerson.

Dude, it was the Village Voice and if was, 30+ years ago. Wishing it wasn't like that won't make it so. Do you really understand what the Village Voice was?

and yet....each critic gave 10 records that are all pretty good from within their known areas of interest. It's not like they left anything out. They had 10 slots, they gave 10 records. Some of these guys...I didn't care what they thought then, REALLY don't care now, but for the ones I share tastes with, hey, nothing there to get rid of. So, what are you saying, they should have made/asked the critics to make sure they made "more inclusive" lists? In 1990, American critics (mostly), with all the great American jazz still getting out? Don't make me laugh. OTOH, Cadence's critics were a more diverse lot and you could probably get a broader look there than in the Voice. Village Voice, provincial by definition. A bigass provincialism, sure, but still, provincial. My advice to anybody reading this Voice list is to get anything on there that you don't already have, unless you know it's not something for you. Otherwise, no, not a panoramic worldview of improvised music, but still a good bunch of records to fill your collection with. I mean, 1990, look at how many people on that list are dead now but were still making lively, vital records then. Times changed much, maybe? And Ed Wilkerson...if you don't know Ed Wilkerson, you are wrong for that. Wrong.

Eight Bold Souls

Collapsed lung, I believe it was.