JSngry

What TV channel do you watch your TV news on?

Even in death, Bob & Ray are ahead of their time.

Get off my Astroturf, you mean...

What makes you think that those who don't behave sensibly would begin to do so by taking a two-part voluntary vaccination that requires disrupting their daily routine?

I think he's gotten older, fatter, and is probably in the habit of having one glass of wine too many before pronouncing. In other words, just another old fart.

Yeah. Media Mail to DFW has been good. They get here almost as fast as First Class, sometimes as fast. Last order - Shipped 2/14, arrived 2/22. No complaints about that, especially considering the weather event. Oddly(?) enough, sometimes a DG order will have cheaper First Class shipping than Media Mail. Go figure that. I take whatever's cheaper.

And Branford used to be the fun one of the two!

Ian Carr Dale Bumpers Grace Jones

It's hard to keep a neighborhood music when the neighborhood gets gentrified, or otherwise destroyed. Or even when the old people die and their kids take over.

Buck Buchanan Bronc Burnett Sweetheart Of The Rodeo

Lee Morgan with Billy Harper. Used to be (still is?) up on YouTube, and the audio has been bootlegged at least once.

Oh, one more consideration - there was a very real worry that young black people were either not coming along to play jazz at all, or if they were, they were not playing it well (or even worse, not playing "real" jazz. I am not going to weigh in on that one, because it was a very emotional and complicated situation, at once a deep-rooted cultural anxiety and a basic generational/evolutionary clash. Maybe you had to be there, and although I was "in the room" for a lot of it, I was never in the actual conversation. It was not mine to have. Just being allowed to "eavesdrop" was more than enough to make me aware of just how deep it ran. I think it's safe to say that a lot of people were pulling for it all to work out, that these young guys would take root and grow as musicians, not to replace/eradicate the changes, but keep a viably broad palate alive and well. Hell, I could still go hear a lot of 50-somethings DEAL, and the idea of that energy and spirit disappearing was just.. sad. But for every Shelley Carroll or James Carter, there's 50,000,000 Elvis fans, and yes, they CAN be wrong. Even if they're jazz players. ESPECIALLY if they're jazz players.

And yet Future Shock sold 50 Bajillion copies. There were "Jazz Is Back!!!" media blitzes several times in the 70s, and they were all relatively true. "Saving" jazz, though, that type of retrovision was not nearly as much about expanding an audience as it was locking one in. Or up, if you like. One can maybe blame VSOP. If THEY needed a break from all the electricity and such, maybe everybody else did too. Except for them, it was a break. They all got back to their regular lives, but...there was a market for people who ONLY did that. The ability to wrap it all in the flag of Real Jazz, hey, flag-wrapping was all the rage then. So...young faces, outspoken attitudes, next thing you know, money locked down in such a way that an audience is not needed, patrons are where it's at, and oh, btw - "education" too. Teach them what to think and then reward them when they think it. Reward them with another tooth in your cog. America's True Art Form indeed!

When people want change, you sell them change. When they want stoppage, you sell them stoppage. When they want records, you sell them records. When they don't want records, you sell them downloads. When they want records again, you sell them LPs. And when they don't want music anymore, you sit on your holdings and wait for a licensing deal for a movie or a commercial. Selling music, though...it's about selling first, music second. And if people don't want music, no problem. There's always something else to sell. The exceptions, the people who want to make and sell music because they want music, period. Those are the angels of this world. Everybody else....business people.

William Brittelle, ACME* – Loving The Chambered Nautilus https://www.discogs.com/William-Brittelle-ACME-Loving-The-Chambered-Nautilus/release/3724671 Will I like this in five years? No idea. But right now, there's a lot of "there" there. A LOT.

Well, not for a while anyway... These days, who gets contracts? (Thanks to the labels that still do that, Pi, Savant, HighNote, Blue Note, a few others, notably NOT Columbia...)) But about, what, 10-15 years ago? The musics you mention kind of started popping up more regularly among "mainstream" players. Today, nobody raises an eyebrow about people playing Ornette tunes (or using Ornette's basic techniques in their improvisation), electric Miles, or, really, late Trane (although the presentation is usually codified a bit). It's just normal now, all of it. So the attempted freeze ultimately failed. The stall, however, succeeded beyond anybody's wildest dreams. Now that things like labels and contracts and wide-scale marketing (and gigs!!!!!) barely exist, all that's left is niche musics for niche markets, and nobody really has to pay attention to anything other than what they know they'll like before they hear it. Speaking for myself, I have to really, really try to find unfamiliar musics, and then having found them, to find some more. One of the disheartening things about all the niches is that ultimately the seem to all stay within themselves. Too damn insular, and ultimately, self-referential for my liking. Cross-pollinations should not be feared. Not saying that they should automatically/indiscriminately, of course not. But at some point, insular becomes incestual, and we all know what that does to the gene pool. be embraced. Then again, the same thing happened cable. THE OCHO!!!! Ah, the good old days of cable... Nothing wrong with that, but it's definitely a change.

AK Salim Ira Sullivan Sakata Kintoki

More like grabbing that gig one angle at a time...which is, truthfully, what anybody/everybody does. The problem was that in a lot of cases the angle was less about what "it" was and more about what "it" was NOT. It meant that a lot of lesser talent got in more on the "traditional" angle than on actually being able to play. the higher up you went the less obvious that was, but we're talking the minors here, the farm system. Or, in some cases, the Seniors Tour... OTOH, none of this would have worked if it wasn't what people wanted. Hardly a new point that this whole thing coincided with a retrenchment of the notion of "progress" in society at large, that at some point all this change left a lot of people just tired of it all, can we just make it stop and return to "traditional vlues". Well, obviously, yes you can. But as always, the REALLY important question is - "and THEN what?" Maybe personalities get reduced to "types" and "personality" takes a back seat. Jazz becomes something that "sounds like jazz". There's a market, of course, but again, THEN what? And then....this. Enjoy! God Save The Underground, WE MEAN IT MAAAAANNN!!!!! ============================================================================================== Also....let it be noted that these Young Lions discussion pop up every few years, and for me, I think I can summarize it all thusly: Q: What happened? A: Nothing happened, and a whole lot of it happened for quite a long time.

In the sales pitches for the gigs.

Checking out The Gordons on the Dizzy Gillespie/Stuff Smith record, "Lady Be Good". Nice! Did they actually have a club act? That's a LOT of harmony on just one song... Did they tour with Hamp any? I could see them doing a spot on a package.

Stuff Smith works when coffee doesn't! But Barney Kessell gets shafted in the personnel listings, which is a shame because he really brought it to this one!

Not at all!

And then they didn't. Seemed like they moved away from a well-rounded(ish) catalog and went more into Scofield/MMW type stuff at the expense of....other things. Nothing wrong with that, of course, those were still good records, but it made me less inclined to go there with them, as those other things either went elsewhere or else OTHER other things sprung up elsewhere. Once that happened, I didn't really give a hoot what was new on Gramavision. I knew it wasn't going to be James Newton or Bob Moses or Billy Hart, so.. I'm sure they had their reasons, everybody does.

Gramavision used to be a player. Plenty of quality catalog.