JSngry

Clarinet doesn't work that way, different fingering system.

No they aren't, and maybe somebody who actually knew the guy could expand/expound on what exactly was behind that seemingly sudden spurt of visibility in 1976 with the A&M/Horizon record. What moved him back into that? Recording-wise, that was essentially a "second career", maybe?

and mine as well, but you know... y'all really need to get that Jazz Cooks book. Nat's recipie for souse...oh my god, no wonder the Adderleys all got so damn fat and unhealthy. But what a way to go!

I enjoy most of what he writes as well, which is why that one thing was somewhat...jarring. It seemed like a rookie move, and he is certainly no rookie.

This is not Brazil! Those facts are certainly important, but not for every relevance, nor in every context. I mean, does anybody - HAS anybody - ever described Pepper Adams as a "White Detroiter" or a "White New Yorker". Of course not! Why? Probably because once the musician is "in", they don't matter to the music or to the musicians. Now, as to how they got in, and why so few do, THAT"S a story, a real story that is too often glossed over if told at all. But it's a different story. Totally different story. And not knowing the difference is....unevolved. Leonard Feather lives, damn his soul all to hell.

Ok - One Black Texan (by then, anyway) Two Black Californians Two Black New Yorkers One White Chicagoan (who by then had been a long-time Floridian, probably for about as long as Red had been a Texan) Any record review that would lead with this and then not go any further with the relevancy of it is, uh...a bad review, and one that would have me wondering wtf? the point was as well as how with an attitude like that I would care about what the reviewer thought about the record. To hear the Black Californian and the White Chicagoan tenorists on the same record is a delight for any number of reasons. To hear the Black New Yorkers, maybe not so much. And having heard the Black Texan in person in his Home Turf many times during the time of this recording, I am unqualified to comment other than to say that I marvel.

So you became aware of Ira Sullivan, learned that he was a ""White Chicagoan", and then did what with that information going forth? There's a lot that is relevant to that detail, but is it anything that pertains to Sullivan on a Galaxy record? He was on several in those days and he was uniformly excellent (as he tended to be, period). But check him out on Red Alert and tell me if you think about as a "White Chicagoan". I'd say that if you do, I'd have to say that congratulations for getting out of elementary school and junior high you can read a map and observe traffic signs, but please, keep going, there's a lot more to get to and through. And to everybody - check out the record that Ira Sullivan and Nicky Hill made together. Your loss until you do!

I dunno, that seems to be a rearward looking/retrogressive position...does Beethoven ever truly transcend being White? If not, then ultimately, why bother? Or more to the point - if we can't get past (not "over" but past) Beethoven being white and Louis Armstrong being Black, then where are we headed with those thoughts? Sure, at no point does it ever cease to be a reality. But surely there is a point where the music - as player and as listener - supersedes mere demographics and sociological specifics. Not saying it doesn't "matter", but rather am saying that the hows and whys of it mattering evolve as individuals evolve. Coming together into one thing and becoming the same thing are not the same!

Do you really listen to Ira Sullivan in terms of "white Chicagoan Sullivan more than hold(ing) his own next to the black New Yorkers"? That's a really funny thing to do, imo. Ira Sullivan long ago transcended that kind of demographic trivia. Not everybody does, but he did.

Iverson's comment about Ira Sullivan is...all kinds of

In any/every order: Hell yeah! Thank you! Long overdue! Exactly who did NOT play on "Rescue Me"?

All The Gin Is Gone Swedish Schnapps

Great singer, complaints about pitch are sometimes (and/but only sometimes) accurate from a literalistic sense, but there's plenty of other ways to get that. Very few ways to get the totally open - and musical - interpretations she does. You hear all these people who THINK they're doing Bett Carter and just wandering all over the place, and that's EXACTLY what they're doing - wandering all over the place. Betty Carter never wandered, she knew where she was at all times, where she started, where she was going, how she was going there, and perhaps above all, when she got there. Too many bad singers, so many good-to-excellent ones, and not but a handful of great ones. A consummate artist, imo.

I'd like to see Denardo and Mosaic do business and look at what all he's got in the archives. Same thing with Paul Bley, archives to die for. Unfortunately, it seems like Mosaic has no further interest in "specialized tastes", which is, like, what, 95+% of all jazz at this point in time? Also, i don't think that cuscana really has the energy (personal or professional) left for sheparding those kind of vital but certainly labor-intensive shepherding efforts. No problem, though about that, he did his part more than well.

Rangers for sale? A team that hasn't played a game for the last 3-4 years and with a like-new new stadium just sitting there doing nothing? Hell, that should go for a price that even I could afford!

https://www.lonestarball.com/2020/11/20/21583270/rangers-7-1-to-be-epsteins-next-employer BetOnline has posted odds on who Theo Epstein’s next employer will be, and the Texas Rangers are the fifth most likely destination on the board, at 7:1. The New York Mets are the top choice on the board, at 5:4, followed by the Philadelphia Phillies at 3:2. The Seattle Mariners are at 5:1, as is Epstein becoming the next commissioner of MLB. The other teams listed are the New York Yankees, at 12:1, the Los Angeles Dodgers, at 14:1, and the Los Angeles Angels, at 16:1. The chances of Epstein landing at any of those three places seems remote, however. The scuttlebutt has been that Epstein is likely to try to get involved with an ownership group that will be trying to buy a team, and I suspect that he’s not likely to come on board with a new team as an employee, without an equity interest.

I'm serious. That bass riff is ready to go, and once whole group gets in there, it's no longer optional. That thing is for MOVING! Just don't be trying to do no Hustle or like that, not THAT kind of dancing.

get lucky and find a half-price where somebody has dumped their Time-Life Giants of Jazz collection, the ones in the Silver boxes. They should go cheap. http://www.bsnpubs.com/warner/time-life/07giantsofjazz/07giantsofjazz.html Make sure the liner essays are in there.

Have you danced to it? It's GREAT for dancing.

Of course I got the Columbia issue back in the day. Then a few decades later I got some other material on a Brid's Eyes issue. Then noticed the Peter Losin says something like there is "much more" material. So - what does that mean, "much more"?

No. I know Cleanhead's alto playing and that is him. Trust me on this one. Bill Graham was there to play in the section, as he was doing with Basie at the time.

Gus Johnson with that JUST SO pocket that cannot be faked or otherwise imitated. Gotta live there, and there's not there anymore, so...enjoy them records! BTW, Cleanhead's alto playing is totally damn seriousdamn.

Still not time to stop listening to Paul Bley!