JSngry

Your guess is as good as mine...I think this was one of those "anonymous studio band" grocery-store-label products, both of them.

Tenor Saxophone [Uncredited] – Bill Barron Piano [Uncredited] – Kenny Barron Bass [Uncredited] – Ron Carter Drums [Uncredited] – Charlie Persip Featuring – The Brasileros

I wonder if people even know what they're hearing, I mean, ok, you're hearing a "record", you're hearing "music", but what is your point/frame of reference for even knowing that that is. How do you know? So yeah, ok, something "sounds better" than something else, but what the hell does that mean, really? You know, not even players are 100% allt he time about what sounds what, so now you got people who have never heard a big band in a meaningful way or a bebop combo in a meaningful way or a string quartet in a meaningful way, you get the idea, so why the hell does anybody care what they think "sounds better"? What the hell are they hearing, I don't know and maybe don't want to know, I mean, I figured out Yesterdays' New Quintet and that was a revelation that I need to only have once. Once was delightful, but yeah, one gotten, let it go. Chuk is right, this is about artifacts, objects, I own therefore I hear. What is that in Latin?

If a truly epochal original couldn't get it done, what hope does a lounge-y sounding remake have? Wishing won't make it so.

I surprised that you made it this far. I can't think of very many who could!

Formerly married to. But they were together at the time of this Shaw-trib record, and the combination of his definitely non-commercial horn arranging and her why-the-hell-is-this-NOT-commercial composing was magic: I love it when individual strengths compliment the greater whole. Check this shit out, this wa released as a POP record in Japan!

No, not per-ordering it until they can get the right cover up.

Ok, first week this year that there's not one record on the list that I'd go out of my way to listen to "since then". Not one! You made it significantly longer that I would have expected, but ,on a technicality, I would certainly not mind hearing either one of the McBee records again. Just wouldn't go out of my way to do so.

Calliman, Cochrane, and Leary were all in the Bobby Hutcherson axis of the time, interesting musics made.

Outside or Ra, the Andrew Hill records + the Paul Bley (I have it on IA, which is where I think it is best served?) are no-questions-asked essential. If you disagree, you are wrong.

You also got some Donald Byrd return-to-straight-ahead records where he is really weak but surrounded by good playing, plus more Bobby Hutcherson records for any label other than Blue Note. Also some Kronos Quartet, if you're into that type of thing, and it's only fair to say that you're not unless you have at least flrited with them to more than a eye-contact level. But don't feel bad about not going all the way with them, they are a somewhat specialized taste in both content and results, imo.

They're about 30+ years late on that, but good luck to them anyway!

the Landmark catalog is kinda overlooked these days, imo.

TBD and btw, she is moving, like relocating. She's in love.

Are we sure that the label wasn't actually Landmark, not Fantasy? Hutch did a released record on Landmark a few months after this, and it was still a Keepnews thing, still using Fantasy studios, the whole shebang. Maybe Fantasy's vaults are not the place to look for the tapes, maybe Keepnews' holdings are. 1984 Bobby Hutcherson Quintet Branford Marsalis, soprano, tenor sax; Bobby Hutcherson, vibes; George Cables, piano; Ray Drummond, bass; Philly Joe Jones, drums. Fantasy Studios, Studio "C", Berkeley, CA, August 9 & 10, 1984 Love Samba Landmark LLP-501, LCD-1310-2 Good Bait Landmark LLP-501 Highway One Landmark LLP-501, LCD-1310-2 In Walked Bud - Montgomery Landmark LLP-501 Spring Is Here - Israel - * Landmark LLP-501, LCD-1501-2 Bobby Hutcherson - Good Bait * Landmark LCD-1310-2 Bobby Hutcherson - Landmarks

My daughter is moving to Detroit...can I get tickets?

Sounds like it would be a Landmark project?

If you wanted Terumasa Hino records here in the states in the 1970s...unless you had a source for imports (in no way as easy as it is today), you ha VERY limited options/exposure.

All I can tell you is that Amazon seller CADNOR (Cadence North Country) must have their own private USPS force or something. Those guys get stuff to me consistently quickly, so quick that when they get here, I'm thinking it's something else from last week. So...can we confirm that Bob Rusch is totally divested from this outfit now? Please say yes?

There were other currents in jazz at the same time listening to people other than Woody, though. Lester Bowie was a shining light for a lot of people, as was Woody for a lot of other people. As were, still, Don Cherry & Freddie Hubbard. At the time, they might have seemed "separate", but, really, is there any trumpet player of any substance (meaning non-retro/re-creative) from the last generation or two who has not taken freely from both currents? You can't get around Lester Bowie except by deliberately avoiding him. Same is true of all the people who spoke up and spoke out and left the world with their voice still in the collective ear.

Change the record, probably...or leave the room. Or stop listening and start hitting on a chick. Or maybe find somebody with better weed. The options are limitless, really. I didn't get to Projections until I was already into established/rooted/proven jazz and blues, and it sounded to me like what it was - some New York rock guys trying to figure out what was already being done by others, and although I gave them full credit for curiosity and for not exactly copying (but not exactly getting deep into any of it), but I was like, uh, what is here for me? And the answer was, pretty much nothing, y'all have fun on your vacation, or whatever it is. Nothing against any of them or any of it, it just had zero resonance for me, Keep in mind that I was 15 in 1970 when my musical interests took a shift, so they were already long gone as a current band, and 1970 was when I was pretty much done with rock period (Hendrix & Zappa excepted, + a few other eccentric/eclectic things of the time, period, of which there were still plenty), so....wrong time and place for me to hear them. But I did have high hopes for that album when I picked it up (1972?). But...uh...oh well. Guess you had to have been there. Still, it doesn't take much of extended exposure to fully organic/competent playing to tell a joker from a king, if you know what I mena, Al Kooper did give a nice interview in Hit Parader about the birth of Blood Sweat & Tears that was really nice, though, that's still a good read, maybe I should scan it and post it here. He was a good talker!

Vomit's a bit strong, maybe.

Forever my hero.

I don't think they had free agency in Ernie Broglio's day?

No apologies needed, I totally got what he was saying, it just sounded funny to me when considered outside of his immediate jazzschool context.