JSngry

Nope, not yours. Glad I don't have to give it back.

Donald Fehr Lothar von Richthofen Buggsy Siegel

Do I have your copy? It appears to have been well-kept and came from Chicago.

Heathcliff Jonathan Livingston Seagull Nigel Bruce

Van Morrison? Still? Really? Or maybe it got a bad review because it's a bad record, period. Reminds me of the Wynton fans back in the day (oh, where are they now?) who would always tell you that you had some extra-musical agenda for not liking him. No, dumbass, it really IS as simple as that I just don't like his music.

Hmmmm....I know there were a lot of records in the stores, but I never knew anybody (well, I knew of them, but didn't know them)who bought them, nor were they played in the stores. Closed I ever came to "direct exposure" to all that was when I picked up a few months worth of gigs with a biker band (called Booster Cable and the Jump Starts, the leader kept trying to get a sponsorship deal with Interstate Batteries) and that was all they played. I got a crash course in "Southern rock" and the people who lived it. It was like everybody I went to high school with (well, everybody white) who had all of their worst social instincts reinforced instead of grown out of. It put me in mind of Country only made by people who didn't have that dirt-poor chip on their shoulders, these folks were all about just having the chip, period. "White Grievance", I believe it is called today? Only good thing that came out of it musically was getting a heightened appreciation for Delbert McClinton. Other than that....yuck. Ok, 2020:

Allman Brothers are a stretch for me, to be honest. Sometimes, at best, maybe. Oh good, Southern hippies can "play the blues" and still sound like Southern hippies. Well, good for them! That character on the Sonora Poncea albums, I had that explained to me once, but I've long since forgotten the details. Something to do with local mythology and Ponce de Leon or something. Definitely a thematic thing, though, a hero fighting for the people of Ponce. The band's most "interesting" work for me was the 70s, on Inca, when Papo Lucca burst out and pushed all kind of boundaries. In that regard, wasn't everybody? They been together forever, and have of course developed their routines. In that regard, doesn't everybody? But that initial burst of Lucca-ian freshness, yeah, that.

Uh, maybe not? I leave people to their own hells.

I just had somebody compare him to James Booker, which is not all that far-fetched? Who the hell is Molly Hatchet? Oops, got the date range off, my bad.

Could be!

He was probably just listening to the internal and external energies of his everyday life. The best ones do.

Apparently the "Boranda Challenge" was a thing in 2020...who knew?

Tata Guines and Mario Rivera THESE guys! https://jazzdelapena.com/puerto-rico-project/anatomy-of-a-tune-sonora-poncenas-boranda-and-the-boranda-challenge/

TRACK ONE - This guy's been getting a lot of BFT play lately, just not this record, the RCA one with Lee. I played this one (with a different name) with an Arabic-Jazz group I played with back in the day. It's a "folk song" apparently, but, you know, folk songs don't come with royalties. Businessplonkiness aside, you gotta love this guy. And Lee too! TRACK TWO - I almost like this one. Tenor player swung the balance into negative. TRACK THREE - Please don't do that. TRACK FOUR - A bit "period", but it seems totally authentic. Oh, that trumpet, that's definitely authentic, not at all period, that kind of playing makes its own period! TRACK FIVE - Oh, this is a good one. Alto has the LA "tightness" in both tone and time (and I mean "tightness is terms of desnsti7y, not relaxation", not unlike Art Pepper), so...harpischord has me thinking Jack Wilson, so the sleuthing is not really hard, Earl Andrezza. That's a good record, whatever happened to him, he made this record, which is more than most people can say. That shit be poppin'! TRACK SIX - We all love Johnny Griffin! And we all wish that Orrin would have had Nat tune up more on those Galaxy records! At least Ron Carter did! TRACK SEVEN - Nope. Not even. TRACK EIGHT - Quincy, and it's clearly his writing too. Matty Fahn, the lady said her name was, and she spoke the truth. Compare this to the updated version on Gula Matari, both are excellent! TRACK NINE - I ten to not like any version of "Emily" and this one is no exception. Excellent player and playing, just that song always sounds like "Emily", and that's a deal-breaker for me. Some good stuff on here! Allow me to join with Willie Rosario in saying:

Cherie Currie Ed Cherry ZaSu Pitts

It's there, maybe not for that long, but yeah. It happened.

Grant Green Jack Parr. Bogey Gaynair

151 will fuck you up. When I drank with purpose, a double was my call upon arrival and then every break thereafter. Mission accomplished.

Libby Wolfson Joe Cocker Bill Toomey

Roy Brooks Badal Roy Theodore Tobler

And check out the dedications...I did not know of the relationship of Roscoe & Clyde Stubblefield...oh to have been there for any of that!

So do proceeds from the record go back into the community or to an activist group? Did the band work for free? Where does she go home to? Snarky questions, but the question of "appropriation" is, it seems, separate from one of sincerity. Those are two good questions to be asking, but hell is full of sincere people, ya' know? And there's too damn many people who have been served by "activism" who are still more or less where they've always been. Let's put on a fundraiser! To buy guns for the oppressed! That's how it works in America, right? Or anywhere, really? Turn that Andrew Jackson shit back on itself, activismate THAT!!! Speaking strictly in the figurative, of course. Of course.

CRI does have CDs of archival material.

Vanity Sheila E Sheena Easton

No doubt a great record, but...that appropriation thing? There's a line somewhere?