JSngry

Sure, in Hooterville they do.

So what is this,, just the same text as the book except as read by Laurie Pepper? Does it have any Percy France music on it?

When I was a kid, I just assumed that Bob Weinstock no longer owned Prestige and that Bob Porter was the owner. True.

Yeah, well, fuck Sam then. No, I said it, I meant it.

Upon further ruminations about Dixon/Baraka...look at who's NOT a panelist at this pivotal event: Jazz Composer's Guild: and a few months later, there's this: lots of things and face there that didn't fit with Baraka's muiscal worldview, to put it mildly... Here's a thread about all of this, which concludes with Paul Bley's wry reminiscence about how it all went south (and does nothing to dissuade one of the notion that Baraka had no problem with "throwing in with the winner" on the commenrcial front): How would this make Baraka better than Crouch? Well...Baraka was a better poet, for one. And Baraka doubled down on R&B for another. Probably some other ways too, like Crouch was transparently an unprincipled whore. Baraka had....nuance, and, I'm sure, some kind of a core that he never wholly abandoned (although perhaps he was not above leaving it in the crib to take a nap while he stepped out for some fun). But - hey, any time you see pimping of music going on that is not being done by the musician themself (and not always even then), put the smell test into motion immediately, if not sooner. If you can get to sincerity (and sometimes you can), wonderful. But never - never - expect there to be a total absence of ego/political maneuvering/careerism/etc. If anything, be delighted if/when you can find what's there once you get past that. It's no different than the rest of life, except, you know, you want to believe that it's all "spiritual" and shit...and the music will be (often enough). The business, though...

A vital contributor to the culture whose loss will be felt going forth. RIP.

Perhaps not as much as you might think...the new music brought with it new critical advocates, not the least of whom was Michael Cuscuna. Kofsky, imo, peaked with Black Nationalism & The Revolution In Music, and, seriously, went mental (so it has been said), as in went off the rails and never came back. Chris Albertson posted here about some of the interactions he had with him, and they were just...sad. We all know the type - people whose radicalism finds a window in history, but as history evolves and they don't, it becomes evident that they have issues beyond what their radicalism were equipped to handle. And those are some very sad cases. Highstrung people who come unwound and can't get rewound. But Baraka/"Fire Music" was not built to last, fire never is and fire never does, not that kind of fire. The "successor" to Baraka ideologically could have been, believe it or not, Stanley Crouch. But that didn't happen, for all kinds of reasons. Crouch ended up denying R&B, Baraka loved it, and Baraka got it right, imo. Crouch just....betrayed the whole thing in the name of...something. Funding, most likely. But you want took at "influence", hey - Bob Thiee. Not only was he a big sponsor/advocate for the "Fire Music", moment in time, and he often had Baraka & Kofsky do liner notes. Kofsky was even, I think, on staff at Jazz & Pop magazine, a periodical that Theie ran, and one which was very, uh...."oriented" towards Thiele's artists and their general esthetic. Something happened to Thiele to where he just kinda backed out of all that, and at every level. George Lewis writes in detail about the whole draft that the Mid-Westerners felt from the New Yorkers as they begin to move in. That extended to coverage as well,, there were so many turf wars and general parochialism, sometimes even provincialism involved...the whole "you ain't done until New York says your done thing"...that exists still today, but, really who believes that bullshit anymore, you know, who are the sheriffs of New York that you're going to really give a damn about what they think, musicians or critics?. Not to say that there's still not some really high bars, but they don't live exclusively in New York any more. They did once, but....that shit's over. Ultimately, though, Kofsky was essentially a One Hit Wonder, and Baraka's influence kinda had a shelf life that was already nearing expiration by the time the AACM really started making noise. Baraka still had a strong voice (and again, that record with Murray & McCall is exquisite), but as a "influence", nah,.

Ray McKinley Mel Powell Carmen Mastren

I am beginning to think that Chico Hamilton and Art Blakey were separated at birth and raised on different coasts as some kind of social science experiment.

Baraka's musical commentary should always be considered within the context of his socio-political constructs. Always. The latter is also heard on the album with Murray & McCall, which is altogether a recommended album if it's not yet been heard. With this in mind, why would Baraka be tuned into Brotzmann? Brotzmann - at an immediate level - has zero to do with any of that. Oh, Kofsky...from reliable accounts, pretty much went mental and stayed mental. Even listening to the transcript (as opposed to just reading it) of his Trane interview, he sounded like a really intense idealogue. Great book he wrote, seminal, in fact. But as far as him being a really insightful musical commentator (by which I mean being able to hear music outside of its political implications)....nah. Not even. Baraka is more nuanced in his understandings, if not always in his expressions. But agan, his speaks from and with a very specific predisposition about what music "is" to him. He speaks very eloquently and insightfully about that, but...Brotzmann? Nah. McPhee maybe surprises me, but to be honest, it took me a while to get into McPhee myself, wasn't until I heard Tenor that I really heard him. All these guys, not just Baraka & Kofsky - but all these "commentators" have agendas of one sort or another. Nothing insidious about that, hell, why would you take the trouble to write all that shit if you didn't have a point to make? But just...know what they are and read them accordingly.

But you are not Amiri Baraka. At least i don't think so?

You can try uploading the PDF to the site here and then posting aa link to the attachment from that.

Why would he?

Jack London Percy France Captain Underpants

Or Beverly/Gordon Jenkins. I'm sure there's a story there, shit like that just don't happen on random accident.

Fed Ex is using decoy data...what else are they hiding in those shipments?

Like Tom, I pre-ordered my Mosaic first set before there was actual product, based on print ads they were putting out there. Setting the tone early, the first sets were months (many months, iirc) late in coming out, but once the product came, it was, like, instant satisfaction and appetite for more. Money was REALLY a consideration then, so I picked very carefully when a new crop of releases was announced. Tears still being shed about some of that. But not the Tina Brooks set, he was a known quantity for me, but it was a small quantity. so when they announced the Mosaic, that was a no-brainer, a true #instaorder. Michael's blurbs only stoked the already whetted appetite. That photo of Tina playing at the Coronet(?) still remains, to me, one of the deepest jazz photographs ever. Bill Barron could be the Tina Brooks or Freddie Redd of the 21st Century, one more of the unjustly shaded but significantly gifted original voices whose "rediscovery" is more than warranted. But the Mosaic that could/would have gotten that done no longer exists.

https://tile.loc.gov/storage-services/master/music/mulligan/200003721/0001.pdf looking at all of this, there are a lot of...interesting encounters over the years. Mulligan was, of course, what is the word, peripatetic in his activities, and a lot of this is "expected", but - not all. More encounters with Monk than just the (tepid, imo) Riverside album. And apparently there are LOC tapes for some of it, including rehearsal tapes for The Age Of Steam...and other things as well. I went in simply looking to see how long Chico Hamilton was with the quartet (not long at all, it turns out), but ended up staying to look at all the gigs for the Quartet with Brookmeyer (god there were a LOT), and then...Mulligan at Newport resulted in a lot of one-offs (daily!), and then....it just goes on... I've never really "loved" Mulligan, but he was one of my first imprints (time/place/general weird fate) and still come back once in a while just to check it all out again, you know how that goes, appreciation gets refined with the application of broadened realities. But this document is kinda...arresting. One guy pops up in all of these places over the years...crazy. and c'mon, THIS!?!?!?!?!?! Gerry Mulligan (sop), Roger Kellaway (p), Mike Johnson (g), Don Moore (b), Elvin Jones (dm) Scrapple From The Apple Marguerite WTF?!?!?!?!?!??!?!?!?!!

https://local.fedex.com/en-us/wy/buford/ gotta go to Laramie, it looks like?

Sonny Simmons….oh my...somebody to always follow...so much playing....RIP and no small love here.

GERRY MULLIGAN WITH GIL EVANS JAZZ FESTIVAL ALL-STAR ORCHESTRA Johnny Coles, Hobart Dotson (tp), Ken Shroyer (b-tb), Howard Johnson (tu, bars), Richard Perissi, Enrico Sigismonti (frh), Billy Harper, Jay Migliori (reeds), Gerry Mulligan (bars, as), Roger Kellaway, Gil Evans (p), Mike Johnson (g), Don Moore (b), Elvin Jones (dm) Royce Hall, UCLA, Los Angeles, CA., October 8, 1966 Godchild Unissued Summertime As above Line For Lyons As above Scrapple From The Apple ° As above Marguerite ° As above Shadow Of Your Smile As above King Porter Stomp As above Notes: Concert at 8:30 pm. ° Quintet only: Gerry Mulligan (sop), Roger Kellaway (p), Mike Johnson (g), Don Moore (b), Elvin Jones (dm)

Dino, Desi, & Billy Hines, Hines, & Dad Fatha & Pops

you can post the link to the PDF. It might even end with .pdf Anyway, just post the link, if it is a link and not an email attachment. If it's an email attachment, you're SOL until it gets posted to a linkable site.

Toby Harrah Julius Caesar Benny Binion