JSngry

The record is new, the player is not!

Miles had a role he liked to play in terms of group dynamics/energy/etc. Trane let him fill that role, Stitt did not. so Miles adjusted.

No, not now, month's more than half gone...2/3 done, actually.

Sometimes offspring speak in code.

Maybe a presenter's response to participant's responses helps generate a WEE bit more discussion?

I've always taken my daughter at her word when it comes to periods. Kinda arrogant not to.

This mod finds that suggestion to be pretty revolting.

Jazz at Massey Hall was a one-off gig, a club date in an auditorium with a superstar band. This was a band for a tour, kind of like the Milestone Jazz Stars. A co-op group is fine when they present a coherent program, but when you get a bunch of strong individual styles and can't get a balanced/unified)presentation, you get a record like this one. Any one cut is just dandy, but with longer tunes, you can only include so much on a record. On this one, I think they could have used shorter tunes to create a more balanced/effective program. But they didn't, and it is what it is.

Well, look at the composer credits. That kind of tells me that the intention of the project was as a co-op, specifically to NOT have a leader. Fair to ask, though, do those type of things EVER work?

Yeah, today we put babies in cages!

Columbia tried to do the right thing with Blanchard/Harrison, but they weren't yet ready either, imo. I blame the demise of the working club band model myself. People don't get the same seasoning they used to. But any of their records were more interesting than any of the Marsliuses.

That....is amazing.

I should let it upset me.

Strokes be everywhere!

OMG, I thought that gender identity was fraught with complexity!!!!

And a REAL word, like, provable.

Does Griff win?

The one time I heard Dexter, the band was Kirk Lightsey, David Eubanks, and Gladden. I'd love to have a tape of that gig, or some similar gig, just to be able to objectively confirm my in-the-moment impression that Lightsey was pushing Dexter just a little bit harder that night than Cables did on these Keystone sides. And Rufus Reid...love the guy's groove, but his pitch can drive you bonkers if you let it, moreso than Ron Carter. This is a longstanding "known quantity", and one that I generally don't let get to me because of the groove. But on those Keyystone dates....listening at any length, you kinda rub up against it, it's unavoidable. As for Blakey...hey my first Messengers record was Indestructable, and the Prestige records were getting radio play here at the same time. So by the time the Overalls band rolled around, I was already DEEP into the Blue Note/etc stuff. so...yeah, not the same. And Schittner and Pomeraniov (sp?) never worked me up into a frenzy of anything other than a soft yawn. Like i said, i slept on Watson/Williams, no doubt unfairly, but an Art Blakey record that stimulates yawning does nobody any favors. Glad that Peter mentioned Backgammon, though. That one eluded me for years, just got it not that long ago. Good record, Albert Dailey always adds value!

This Graham Hitchcock guy had me fearing the worse, lord what a pissy little ramble that was, but the actual author allayed most of them. Most... It's a fun trip that is perhaps more interesting for the people he brings in along the way than any destination. But as far as "was it possible", i think that's always been a solid "absolutely!". I think you have to be willfully, at best, ignorant to see it otherwise. Past that, though...the begging of the question seems to me a bit like asking for permission, and I'm kinda like, you know, fuck asking for permission, right? If you want to find out, go find out. Just don't be stupid, and if you don't know what THAT means, then DON'T go find out.

I'm still advocating for "fuquitous".

and Stan Kenton!

Our Thing was a tough one back in the day, the one Joe BN that went OOP early and was not in any store. I got lucky and found a copy in the campus radios station's "jazz" library ca. 1976 or so, and traded, like two John Klemmer impulse! records for it. I kinda felt bad about such a lopsided deal, but otoh, that's where they were at, Joe was still very much a cult figure, "Blue Note" was full-frontal New Note, and John Klemmer was making a lot of noise for the nowsoundlazzkids and the station had not yet been serviced with his records. So hey. Every time I think of this story, and a few others like it, it reminds me of how some of the records that we take for common these days were once the province of a very few, a very select and limited audience, people who were the hippest of the hip. Our Thing, Unity, Indestructable, etc. They were released, sold a few copies, and then went OOP, not to come back until the CD era. It boggles the mind sometimes.

I'm seeing that Ornette was covered back in February, so I'm wondering when, how, or if harmolodics are going to be covered. Tales of Captain Black maybe? The decades almost over!

Oh yeah, FINE player. I watched (or more accurately, forced to be in the same room as) Welk for years, and once "jazz sensibilities" began to develop, Havens was the first player to catch my ear as having something of "the real deal" to him. First, but not the last, though. by the time the show ended, there was enough of a contingent of such players in the band that Welk started featuring a combo spot for them to pay a bit of attention for when they came on. Havens was still the "best", but Paul Humphrey was on drums (same guy!) and Henry Cuesta was a good player too. For that context, it was enjoyable! One show, the combo played "How High The Moon", and took it out with "Ornithology". A Bird Tune on Lawrence Welk, shades of a Lennie Bruce bit gone right!