JSngry

No doubt, and the quartet with Brookmeyer is also not without charm. But yes, that original quartet was quite unique.

Ready to spend a few days here: Right now, Josh White talking about I'm broke and hongry, ragged and dirty too, and then wanting all them women to take him home with them...OMG talk about setting yourself up for failure in today's world!

And also, keep in mind that: P is for pure, the spiritual side of you. L is for lively, your life is full of energy! A is for accord, the harmony you spread. S is for sensational, you know how to make a splash!

Kinda heard of it, I'm just not yet hungry for paying for downloads, of even high quality. I see the market moving towards either hi-res DL and either no physical format or else a shiny LP object, but as long as there's physical CDs on the market (new or used) and, of course, used LPs out there hiding away like a good dog in the shelter just waiting for a good hime, that's mostly where I'll look. And of course, the shared rarities that friends (known and imagined) share through the Magic Rays of 0s & 1s. But - looking at that Puente offering, it seems that they got the permission from the Craft Company (famous for fine dairy products for over half a century, at least!), and are giving a good, CD offering. If I was going to do that type of thing, that's definitely the way I'd do it. Legit, and quality. And I'll move when I have to, like I did with CDs vs LPs. Not moving backwards, tho. Still, what I REALLY want is an OG LP of that Tico side...love the cover, love the label, loved holding it in my hands and getting lost in the design and font, letting the music of the visual play in my mind. But such is not likely to be my fate, not at those prices! And even if I could afford it, it's still an object, like a baseball card. The music is the player, the record jacket is the baseball card.

Same for the OG Quartet w/Baker. Went through their entire output a month or so ago, and was consistently amazed, not for the solos, but for the writing for the group. Just four instruments, only two horns, and of course no piano. So, not a lot to work with to get a variety of lines and textures...but there is, every person is playing into the group sounds, not out or above it. Chico Hamilton in particular is the spider spinning the web, except when he throws a bump that goes boom and then gets right back to spinning. Later quartets and other small groups of Mulligan's....some good bands there, but this first quartet, which lasted just a year, essentially, made a bunch of records for three labels (Fantasy, Pacific Jazz, & GNP) is really suey generous, or whatever that phrase is. And it's the writing that does it. It all starts with the writing. If there's anybody who has not checked out this music, who thinks of it as only "cool jazz" or "West Coast Jazz" that is an opiated spackle of jazzmusic, I offer you the friendliest recommendation to do so!

Yeah, and what Rooster is linking to is Rough Trade stores in the UK...wonder if Dusty Groove will provide an American counterpart? yes, they will.

Curated by CSO Mead Composer-in-Residence Missy Mazzoli... I'm telling you, this woman pays attention to details.

OMG, they have the "Noodling" cut! Put me down for this one, then, CD, as soon as the price comes down!

Not some place I would look (can't imagine ever having any Quobuz stories to bore the grandkids with, but every generation sacrifices), but yeah, there it is. Seems to be legit too, right? https://www.qobuz.com/us-en/album/puente-in-percussion-tito-puente/sacs7kwxwj3nb

I love the Disc-O-Mat sticker on that pic, btw. I went there one time, forget where in NYC it was (remember now- 7th Ave), but one of those places that had records out the ass, all kinds of records, but "Latin" was sort of their specialty. The whole third floor was Latin, iirc, the had an entire floor dedicated to Latin music!) Picked up some PanArt sides (American pressings, of course), but I found out later that Disc-O-Mat was kinda the place you went to for Latin records if you didn't have a good local joint right on your block and. Or even if you did, you went there for back catalog and shit. That kind of place. Disc-O-Mat would have been the PERFECT place to pick up a 1978 reissue of a 1956 Tito Puente Tico record. What is that, streaming? ah, ok, one of those stream or download place, like iTunes only French, right?

This, only more than "may". But good luck finding any "reasonably" priced LP or CD these days...your best bet (other than lucking out like HutchFan did or else calling on Everybody's Best Friend - The Internet) is to look for this 1978 version: I knew a percussionist back in the late 70s who was paid large bread for for the OG Tico, just before this reissue came out, so it already had a cult following. It's long been a coveted record, although I think more among musicians than the "general public". But it's more "on point" in that regard than is Top Percussion, not by a WHOLE lot, but enough to make a difference.

a long time ago...and then they became Gusto at some point iirc. https://www.discogs.com/label/46335-Starday-King-Records The JB stuff all went to Polydor, iirc, but the rest of it... ok, for Bethlehem:https://en.wikipedia.org/wiki/Bethlehem_Records In 1958, Bethlehem began a distributing deal with King Records. In 1962, Bethlehem Records was sold and absorbed by King Records.[2] After Syd Nathan's death in 1968, King was acquired by Starday Records and relaunched as Starday and King Records. It was purchased in 1970 by Lin Broadcasting and in 1972 by Tennessee Recording & Publishing, until acquired by Gusto Records in 1974. At that time, Bethlehem was purchased by the Cayre brothers' Salsoul Records, who initially intended to release its back catalog for inexpensive 8-track tapes in the 1970s. By 1993, the Bethlehem name was revived as Bethlehem Music Company, although Salsoul is often used as an imprint. The Verse Music Group obtained its licensing in 2010. In 2015 BMG acquired the catalog of Verse Music, including the Bethlehem label.[3] During 2013–2014, Verse and Naxos reissued the 1950s catalogue on LP, CD, and digital download. This included music by Art Blakey, Chris Connor, Paula Castle, John Coltrane, Dexter Gordon, Nina Simone, Mel Tormé, and Zoot Sims.[4] Ok, as for King:https://en.wikipedia.org/wiki/King_Records_(United_States) When Nathan died in 1968, King was acquired by Hal Neely's Starday Records and restarted as Starday and King Records. The songwriting team of Jerry Leiber and Mike Stoller bought the label in 1970 but sold it soon afterwards to LIN Broadcasting, which in turn sold it to Tennessee Recording & Publishing (owned by Freddy Bienstock, Hal Neely, Leiber and Stoller), which sold it to Gusto Records in 1974. In 1971, James Brown's recording contract and back catalogue were sold to Polydor Records.[6] Since 2001, Collectables Records has been reissuing the King Records catalogue. King still seems to be owned by Gusto (as do many other labels):https://en.wikipedia.org/wiki/Gusto_Records Gusto Records is a Nashville, Tennessee-based record company that specializes in reissuing and licensing recordings. The catalogues that Gusto owns include King Records (except for recordings by James Brown),[1] Starday, Scepter (except for recordings by Dionne Warwick,[2] and the pre-RCA recordings of The Guess Who), Wand (except for recordings by The Kingsmen)[3] Musicor, Chart (except for recordings by Lynn Anderson and a few other artists who bought their own masters),[4] Federal, Audio Lab, Ovation, Step One, Atteiram, and others. Gusto is believed to maintain one of the largest independently owned collection of record masters. If this is current, wow, it's sitting in Nashville waiting for a deal, licensing or otherwise. Bethlehem, yeah Cayre is the link in the chain I had forgotten about...that is/was an "interesting" outfit as well...

Bethlehem fell to King, then Starday-King, and then....I forget. But if BMG now has all of that King stuff...oh my lordarootie!

Well, "technical" stuff is how the music gets made, I mean, it doesn't make itself, right? But back in the day, composers would just dedicate piece to somebody,title the movements by tempo marking, and let that be it. I don't like too much detail in general reviews/program notes, because...who are you trying to convince, right? At one level, the basic level, the music should speak for itself. And then if you want/need to know more, go get it. But only it connects first. Anything else is just kinda posing, I think. Like, I've heard any number of things that I didn't know exactly what was going on. But I can't say that there's been much, if any, that I've only started to like once learning the specifics. Of coutrse, there's always the entitledtype dilettante who needs to "understand" in order to "appreciate", and then must "appreciate" in order to "like". Those type....grr....you don't have to do any of that in that order. Something either makes you listen again or it doesn't. There's no formal process. Use your ears and keep an open mind. Anything else, really, isn't listening to music, it's just gobbling up an aural confirmation bias, there really no listening involved. Just hearing, at best. Already too much jargon.

S.Maharba Maharba Zapata Maharbal

If, like me, you're wondering WTF? means "Capricorn Climber", well, there's some insight: https://astrologyspeaks.blogspot.com/2012/12/capricorn-climber.html or not?

Eugene Chadbourne is the only thing I'll stop to read on AMG. Don't at all mind technical musical notes in reviews or liners but only if it's relevant (ie - not already more or less obvious) and, more importantly. accurate. But it's seldom either. I think writers of this type have looked at too many "program notes" from classical concerts and thought, hey, that's a good idea! But it's usually not. I mean, if you really want/need to know about shit like that, in classical, go look at the score. In other musics...look at what there is to look at. But don't, oh god, PLEASE don't, try to fit an aural experience into a physical blueprint, unless you know exactly what you're doing and/or if that's the express purpose of the music anyway. And if it's the latter...is listening really all that important, except as bonus points? And I would say to just let the musicians speak for themselves, but...not always a good idea either!

FRISKY LIKE A MEGA-MO!!!!

"Funk" Trumpentauer - Dies Ist So Locker Wie Ich Bekomme Don't be fooled by the title.

It's worth picking up at a reasonable price, but not really worth going on a quest for (unless it means that much to you).

Ah, the radioactive test waste dump!

It also shows up on Wikipedia.

Dorothy Preen (America's Annoying Co-Worker) - I Don't Know How To Do This b/w Tell Me How To Do This God, this record should never have been made

That looks....intriguing. Never to late to learn...never knew that "Gardner" was an Anglicized version of "Guarnera".

Chubby Checker Fats Domino Leonard Chess