JSngry

Allen, I don't seem to be able to send you a PM...is all I need to do get this done is to make a PayPal payment to you, neither you nor I need to do anything else, correct?

Omnivore seems to have a good relationship with is now the home label, so they probably handled this up front...but it would be nice to see that confirmed in some fine print somehere...

Two questions - Who has direct experience ordering from Omnivore? What is to keep this from getting Palo Alto-ed?

Dreams of covid-infested hair dye running down the face of a major patron of a syphilitic whore house are not pleasant. can we change the subject, please?

Took the words right out of my mouth.

This is really worth watching: https://www.thecountrynote.com/in-the-news/charley-pride-talks-one-on-one-with-tavis-smiley-friday-december-16/ RIP

Those Bacharach/David songs were not easy, in any way. That she was able to simply sing them is accomplishment enough, but to imbue them with feeling, meaning, soul...not "miraculous", just supreme artistry in response to supreme artistry.

Will take, please. PM sent.

Maybe when it goes to Last chance. Maybe. Saving my money for that Bill Barron set.

It is only in real life that a girl has to cry.

See, that's why you franchise.

There's that "famous" thing where Leonard Feather said that if you play a newer Coleman Hawkins LP at 45 that it would sound like Bird. Well I did that once and uh, yeah, I got the point about how developed Hawk's had become, but...no it did not sound like Bird. It sounded like a Coleman Hawkins record played at the wrong speed. The Nutty Hawkmunks or something.

Indeed it is. But otherwise, no change!

I can't always be certain, but there's just something about certain people's tones/timbres where, yeah, it just doesn't feel right, soundwise, something in the pitch, the vibration of the notes. Sonny is definitely one of those players. He has so much sound in his sound, it's kinda like OH MY for me no matter what. But with all that sound, the changes are that much more "visible". Unless it's really obvious, though, i don't let it ruin my day, if you know what I mean. Anybody who spends enough time in "private tpaes" gets used to it and is just thankful to experience the logic and the spirit, period. "Good sound" is just icing on the cake!

Yeah, that's some deep, DEEP stuff, listening now, seeing if time has changed my impression. It hasn't. Free-association sonny at his free-est, and Han Bennick, like i said, throwing it ALL back at him, the back and forth between those two is most delightful! And SO much tenor! All the Clonetranes who know every permutation of every scale...they don't get to THIS side of the tenor (usually). For that, you go to guys like Threadgill (when he played tenor), THAT kind of playing. Tone, timbre, fingerings, SOUND. Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins! Sonny Rollins!

Will there be refreshment?

55 is a speed limit, not an age. So keep going!

I became aware of him as a Phillie, had no idea about the early harmonica incident until just now. Wow!

When i was a kid, I thought it was a hot rod album!

i just now did my quick CheapCasioKeyboardCheck on Sonnymoon, and Bb was obviously not right, but A pretty much was...not saying you couldn't play the tune in A, especially sonny, but...I don't think so. Also when the bass hits that low E string before landing on the IV chord...that shows the tune's being played in Bb. I got no complaints, though. IMO, this is some of Sonny's best 1960s playing on record (such as it is), and very "significant" in terms of chronology. I think it's a treasure. The rhythm section, btw, is a total groove., Han Bennick in particular. This is one guy who was not afraid to throw it all back at Sonny!

You can look at the credits on Atlantic records (where they are provided) to see a very transparent look at who all did these things regularly. But that was not a pick-up session scenario. Atlantic had a network and contractors who worked that network. But geez, there were SO many pop sessions back then, demos, singles, albums, it wouldn't surprise me who all played on dates like that if they got the call and needed the bread. It also wouldn't surprise me if they kept it to themselves, because, you know, "artists" and all that. Just kinda surprising that Lee Morgan might have been among them, never mind Roswell Rudd & Fred Hubbard, clarinetist of no inconsiderable mystique.

Ok, convince me JUST a little bit more, please. I've been thinking about skipping this one, just because, I mean, I pretty much know Teddy Wilson from the Goodman Trio/Etc records (and there are indeed worlds inside worlds on those) plus all the sides with Billie, and then the later Musicraft stuff.,. But if there's really THAT much more to get to in this set,...I will keep my options open. And nothing about "some great XYZ on this set", please. Ears, not blurbs, please!

17 CDs, lots of Bartok, but not just. I've been taking my time with it for about three months now, finally concluding this morning. Well worth the investment of time (and of the < $55.00 for which Amazon now offers it). Unhesitatingly recommended if you want to go there (and going there is going to be inevitable for many people who wonder where stuff comes from, and/or who else was doing "that" before it came into the American Improvisational Vocabulary).

This could raise the question of how many "name" jazzmen of the time were connected with the type of contracting system that woul allow them to get called in for some one-off pop dates, not as part of a regular house band or anything, just the kind of thing where somebody's doing a single date, they need a horn or two, and it's totally reasonable to call, say, Lee Morgan for a few hours work. It's not unheard of by any means, but Lee never, to my knowledge, had the rep of somebody who got called for that type of work.