JSngry

I wish that professional writers would stop writing stuff that implies a set of logical propositions that they don't bother to establish. In other words, a clearly defined premise from which to expand. Also, hey, enough lists. Lists are just expanded bullet-point constructs, and bullent-points lead to an overview, not a deep understanding. So just stop it. Grrrrrr…..

If it walks like a mail box and quacks like a mail box, then it probably is a mail box. Maybe there's a duck inside it, but when you don't see the mail box but still here a quack, somebody be fucking with that duck. Don't fuck with a duck or a mailbox, or especially one that might be inside the other. Next thing you know, it turns into a goose, and I am a living witness that a goose can turn evil on your ass before you can get away from it.

Hey, Bootsie Barnes, y'all. Barnes, not Collins. I loved it when you'd hear an organ record on the jazz radio and you're bopping along kinda like, comfortable enough to just let it all pass and then someboy starts playing that has a voice that you've never heard before and by god, it is a real voice, and then you wait for the back-announce and if it doesn't come, you call the station and ask who was THAT?!?!?!??! Bootsie Barnes.

and yet damn near everybody thinks they know what it is, and wears merchandise that says so.

I'm trying to think of pre-Liberty Blue Note record who did not exemplify the "Blue Note Sound"...kinda like, yeah, that's the Blue Note sound because that's the records blue Note made. If Lion/Wolff made a lot of different types of records like Bob Weinstein did, then the Blue Note Sound would be something else altogetrhe, So really how are we looking at this in terms of logical flow? Jazz Time continues to not interest be, one more reason why. And ok, no Horace Parlan? Wtf are they looking at/for? and why do they expect me to look at it? ScooScoochie y'all.

Indeed they will, and since this is definitely "value added" to the site, cybercommunity-citizenship for real. Thank you!

I accept my fate, then. I had a talk with god today, and he pointed out that by 1959, Paul bley had already played with Ornette and had been married to Carla AND had started warping time with Jimmy Giuffre.. Kind Of blue? Kinda wow, Charlie? and ok, by the time of that irritating as fuck Trio '65 record, had done the whole Jazz composers Guild thing, had had Albert Ayler in his face, and made a record with John Gilmore. And they call it... I think I know who made better use of their time and mine. although, yeah, up to a point he (evans) was an in thing afaic. Put me down with Larry on that part, there was a while where he brought something to the table other than lace napkins and vomit in the potted plants. But that didn't last very long, really, relatively. He had his chance, and blew it. I'm done trying, or discussing. He'd dead, I'm not, and there's plenty of other musics I've yet to hear and/or process more fully than this guy. One of these days (and it won't be long...) Time's a'wastin'!

No idea when that cover got changed or why. The Exodus issue was the original (Exodus being the label set up by "exiled" VeeJay ownership). What I can see is that there is now a motorcycle, a solid blue background, and a woman of ambiguous ethnicity wearing a helmet that obscures her face holding a second helmet, which I guess is presumably "yours". Quite a change, and I can't see it being thumbtacked up onto the wall.

Dude, make allowances for the changing of the jazz demographic. In other words, game over. That game, anyway. And speaking of Game Over...https://www.discogs.com/artist/386979-Ed-Bogas http://www.ebogas.com/

It's DAMN good. Buy with absolute confidence. My copy has thumbtack holes on all four corners of the open gatefold, though. I was sharing a house with a rather..."indigenous" aspiring jazz pianist who fucking demanded that we pin the cover up on the wall, because dammit, THIS was what a "jazz woman" looked like, THIS! Healthy, Black, and maybe not as nice as she looked (and that cutting in all directions). This was the same guy who hear, like 30 seconds of Ike Quebec, laughed out loud and said, "yeah, this is one of those pool hall motherfuckers". I had to learn exactly what that meant, and that took some, uh, experiences, but yeah, he was right about that. About what a "jazz woman" looked like, though...I'd not want to be quite THAT specific about it, but he was right as far as he went, or at least he was not WRONG, let me put it that way. But that was a while back. The world has changed, even jazz.

And I hear tat, too. But....she doesn't really look happy. Maybe she just wasn't a very good model. #sometimesacigarisjsutacigar But she looks happy, Supremes wig and all: If not happy, well, at least her eyes are open, and we can see what all is within a couple of feet of her on all sides? "The Male Gaze"...maybe not a thing of the past (if it will ever be), but, jsut sayin' now that we know what it is and all the forms it can take....etc.

Or how about this idea - anybody who has been listening to jazz for longer than....five years(?) just go for at least one year without listening to anybody essentially connected with Kind Of Blue? Just a year, but longer if you listen casually or otherwise hobbyistically. That might be a sacrifice musically, but what can be gained from stepping away from the machine of all those "narratives" can safe your life when you do get back to the music(s). But it will allow you to hear what Pat Metheny called "The Shot Heard 'round The World":https://www.chicagojazzmagazine.com/post/view-from-the-inside-the-influence-of-paul-bley Or this one, the shot heard by at least a few people who were actually pating attention: And ok, Tristano? Yes, absolutely. Only this world and that world ...still not co-mingled yet, if ever. Miles had crossover in mind, sonny...maybe not so much.

Now you've got me curious about being curious...I bought the Wichita album right when it was released, loved it in a flush of infatuation with all things "lab-band"-y (and CT was a HUGE presence on that scene in those days, hell, he came to NT once or twice to recruit/audition for a road band/tour he had before, but got tired of it in about a semester and a half, mostly because of Phil Woods (playing and writing, poor guy, always did his best, but...), but also because Ernie Wilkins' writing has yet to grab me like so many others of his time/place did. Maybe. But - that's a hella good lineup on your record there, so...maybe I'll look into it. So let me ask you this - have you ever heard that first record, the one on Etoile? That's one's a club date in NYC also....

That would depend on your life experience? In a world where golden showers and bukkake are borderline mainstream in term of "everybody" at least knowing what they are, how do you not at least wonder what they were thinking if you don't know who they were, meaning the art director and photographer, and/or maybe even the model? That photo is really tightly cropped, so, what's going on past what we can see? Maybe she's just washed her face in a fresh mountain stream? Or maybe that "smile" looks more like a borderline grimace? Maybe "make everybody happy" is the job description, and once again, if you don't know wh they all were, you really don't know what kind of a job is being desccribed. People get hired to work parties, all kinds of people, and all kind of jobs. ALL kinds of jobs. But maybe it was just a lo-budget shoot all the way around. I mean, unless you know who "they" really were and what "they" were thinking, there is always going to be doubt, because dammit, I don't care how upright you and everybody else is, there is money to be made by not being that, and THOSE people are everywhere - all the time. Maybe not in quantity, but how many does it take, really? Really - how many does it take?

What's your preference for Buddy's Place over Wichita from a few years earlier?

If the guy is happy with the life-decisions he's made, then maybe? I mean, some are more than happy, either immediately or eventually, to not have to deal with all the intrinsic bullshit of "the business". Selling something borne of love (assuming that it is borne of love and not vanity/ego/predatory impulses/etc #youmightbesurprised)....there is no one right answer for that. That's a deeply personal decision.

Is that not one of the most #MeToo cover/title combinations ever? I mean, I want to think there was an innocence of degree to it, but I don't think I can ever be sure about that - or others like ever again. Barring that, who is "everybody", where are they supposed to be in this image, and just what kind of "happy" and what kind of "make" are we talking about here? And also, have you noticed how staright teeth used to kinda NOT be mandatory? Whatever else bad there is to see here, that is not one of them.

Congrats for making it this long. RIP!

Legit in a In Jordi's Bed With Fresh Sounds/Blue Moon kinda way. https://www.freshsoundrecords.com/1153-malanga-music-records Hey, it's apparently legal in Europe, so if you're there, I guess it is legit in that regard.. For my needs, I'd prefer either an OG LP with whatever noise it comes with (or, hopefully without!) or a legitimately cleaned-up digital file, which, btw seems to have been put to market by Craft, which is def legit in every way, all over the world join hands, etc. OTOH, "Latin" music continues to be highly disregarded and disrespected bit's original-recordings owners, wo, yeah, liberate the vaulst and charge full price, at least it's being kept alive, although...not sure that's as much life or sex-slave, but no matter, those things don't matter, unless it's a real human being made into a real sex-slave, so no, we're not joking about that, but we're also not joking about perhaps this Gordon Pillhill guy is a drug dealer for us music junkies, enough blame and loathing to goo around on that one. I just thank god he's not got a hardon for Black Gospel Music...there are honorable (enough) people doing honorable (enough) work on that if/when the world is ready for that power to come back out into the common air, they WILL be ready and it will be done right. Until then, hey, world gone wrong still going wrong.

Well, yeah, but that's a potentially disingenuous combination conclusion about a lot of separate contentions. Bottom line for me - I was predisposed to not liking him THAT much to begin with. Sure there were moments of "magic" early on, but nothing really sustained that grabbed me enough to invest when the deterioration started happening - and it started happening before any obviously drug-induced manifestations, I mean, my god, I know any number of people who find this glorious, but I find it as annoying as fuck, that relentless left hand, it does not sound in the least bit freed up or any other kind of "up" except fucked up, that left hand is something that had me running the hell away from it the first time I heard it, which was, like, 1974, long before I ever had any idea about the drugs, I had just been reading all these review and hearing all these pianists just LOVING this guy, and then I heard this record and then many more like it, and was just, like reflexivel....YUCK. The manner of playing here, the feeling, the energy of it is one form of everything that turns me off in any kind of music, then and now. Too fucking tense, rigid, whatever. Claustrophobic. I don't care how "inventive" it is (and I can question that too), hell, invention alone is nothing but invention.Not what I want out of life, much less out of music, this kind of tense poking and prodding skittering. NOOOOOOOOO!!!!!!!!!. At any given time, Art Pepper can hit me like that, but Art Pepper had the advantage of breath, and of being able to manipulate pitch and timbre, which he did to frequently splendid effect. Plus - and it's a major distinction - Art Pepper did not rush, or even play on top of the beat, he just hugged the beat like a scared kid hugs a teddy bear, which is a quirk, to be sure, but not an unattractive one, But this Bill Evans guy, yeah, I have no problem with the early stuff (at least on a case by case basis). But overall (which is most of his career, just as Miles' electric music is most of his), no thanks, hell no thanks. But you know, why waste time with this where there's this:

Sketchy, but CD: https://www.amazon.com/Bravo-Tambo-TITO-PUENTE-2013-05-14/dp/B01M69NKD1/ref=tmm_acd_swatch_0?_encoding=UTF8&qid=&sr= Seemingly non-sketchy DL: https://www.amazon.com/El-Rey-Bravo-Tito-Puente/dp/B07YFLCPJV/ref=tmm_msc_swatch_0?_encoding=UTF8&qid=&sr=

He had a brother, Jesse, who I never heard about until I got much older. Jesse never left Dallas and played his brand of Tex-Mex R&B continuously for as long as he could. I never heard him, but supposedly a very talented guitarist and singer. From what I can gather, there was a lot of cross-pollination between African-American & Hispanic R&B musicians in the 1950s Here's a story you'll not get in the national media. I think it's a worthy read: https://www.dallasnews.com/arts-entertainment/music/2020/08/11/trini-lopez-whose-roots-in-dallas-little-mexico-preceded-a-stunning-musical-career-dies-at-83/ Also, Trini Lopez was recorded by King Records before Reprise:

Whole cream.

I rather liked the novel. But it's a novel.