JSngry

Mr. Board standing tall aside Sonny Stitt. It's a record to have. as for Gene Chandler:

I know, but that clip is THE Duke of Earl. In action. That's an amazing presence, amazing body language,...the PROWL - and zero smiles, ZERO. Nothing can stop me NOW, that's not taling about (just) romance, there's a whole...SUBTEXT in all of that, ALL of it. and according to Wicki, John Board is on the record. Hey.

Video seals the deal, this shit runs deep.

https://en.wikipedia.org/wiki/1-2-3_(Len_Barry_song)#cite_note-5 The personnel on the original recording included Vinnie Bell, Bobby Eli, and Sal Ditroia on guitars; Joe Macho on bass; Artie Butler on percussion; Leon Huff on piano; Artie Kaplan on sax; Bill Tole and Roswell Rudd on trombones; Lee Morgan on trumpet; Fred Hubbard on clarinet; and Bobby Gregg on drums.[5] The citation does not list the horn section (except for Artie Kaplan's solo), so how the fuck did they get THESE guys? And "Fred Hubbard" on clarinet? WTF????? Always like the record well enough, but I ain't buying that.

Who says the Organissimo Serach function doesn't work?!?!?! From 2005:

Ok, here's some other spots from the same season, same writer, maybe? I think that's Phil woods on that one? Pamela Austin, geez, I had forgotten all about her! Think about all the money that got spent to make the music for those spots, not just the players, but the arrangers, the copyists(!!!!), the studio personnel, just on and on, money put into circulation for skills and services rendered. Now it's one guy and a laptop. Pamela Austin was cute! Probably still is!

I was actually wondering about Benny Golson...when did he move into doing "other" types of writing gigs? The most common name from this time would have been Billy Byers, who also had a name of his own.

Here's the question now - who did the arrangement for that ad? It could very well be a name we all know...but who?

Frisky!

OMG, leave the stickers and stuff on. At least keep the jacked-up trashy innersleeve if it's the OG and has copy on it. That's the record's native land. I am into collecting these records, not colonizing them. The native tongue of covers and such is the soul of the object. If it's not "clean", so be it. For that, there's digital and packaging thereof. And as things age, let them age, Aging is natural, it does a spirit good to be loved as it ages, without faul being found or repair sought/imposed. Far from erasing the past lives of these things, I say keep them there to keep the continuity of spirit. and yes, I am a bit of an animist about this, not logically, of course, just to keep myself in a place where I feel right about where all things are. I ain't the boss of you, I ain't the boss of me, and I for damn sure ain't the boss of records. Nor are they the boss of me. We take care of each other.

Yeah, Paul Bley - always plays like Paul bley. He's one of the great individuals, there is no "context" for him to be in - he IS the context! Everything else goes from that.

Someday music will be available in such a way that we don't have to worry about all these sleeves and their directionality stuff.

Bowing is funny, and comes in a lot of different ways. What I don't like is players who obviously have not yet gotten a grip on the basics. Chambers obviously had that, so from there, it's just listening to the lines, and there as well, they add up, good thoughts well-executed. Some take issue with his tone, that it's a little "thin" in comparison to "classical" standards, and sure, it is. But that's not a factor unless it becomes one, and I don't let it become one because Paul Chambers is playing the way he wants to, the way he hears it. He knows what he's doing and why. It's not like the guy didn't have training, you know. You know, there's always room for improvement, but Paul Chambers is dead now, so not for him. Improvement is for the living.

I'll say it. I like it.

I see some leanings. That is not tight. LOL! Nice Afghan, though. Is it handmade? My mom used to do those, almost obsessively. When she died, we had a buttload from her over the years and couldn't bear to part with them. So now we have a buttload full of homemade Afghans all over the house. There's worse problems to have!

Seriously, read this instead: https://www.amazon.com/No-Such-Thing-Silence-America/dp/0300171293/ref=asc_df_0300171293/?tag=bingshoppinga-20&linkCode=df0&hvadid=&hvpos=&hvnetw=o&hvrand=&hvpone=&hvptwo=&hvqmt=e&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=&hvtargid=pla-4583451663485716&psc=1 The work itself is, in it's totality, profound. A record of it, though, is silly, and a box set is just a scam, albeit a delightfully Dadaist one, up there with this record: This, however, is worth both your money and your time (no pun intended):

Why not just have two different turntables?

But like you said about Charlie Rouse, not up to Alfred's standards. Johnny Coles.

Fred Jackson

Forgotten?

If you want perfection, go to an undertaker.

Hearing the others today on KING CD 634: and ok, yes, who all else are on the Spoon cuts, as well as the other Cleanhead cuts? NO BS R&B.

Fuck Chekhov! Taping jackets...when i was a kid/teen and would pick up all the junk records, i'd scotch tape them up, but as the years went by, I learned not to do that if the junk record didn't have any inner sleeve, and they usually didn't. Residue sucks.

I guess there was an entire session, then? You never know who's going to turn up on those old King records. Always somebody good, though.