JSngry

Enjoy!

Surely you jest? Or do you mean just never a leader on Blue Note? That was how Lundvall "re-launched" the label, if you think about it.

No, i did, really. And I do, really. Half or more of the stuff I buy from board members is to replace "copies", of things. I do feel guilty about loving a record so much and then only having a burn or an MP3 of it when I can afford a real copy Fresh Sound/etc stuff, no, I don't do that, it's not real enough for me, it's like buying somebody else's CD-rs. But otherwise, yeah, I tend to treat this aspect of object ownership with the same..."code" as I try to treat people - if you love them enough, do right by them, don't look to get something for nothing out of them. I might well be an asshole in many ways, but this will not be one of them!

I'm too old for this type of thing, but it was fun to listen to once. And there are some momentns of musical interest/interesting choices. But as an album, hey, it's another iteration of some good models, but it's not my iteration.

yeah, I splurged on a real copy after getting a blogged one. If I love something that much, I try to do right by it.

Here's one you can take into your house like family (in the happy way). Of course, they're pretty much all like that, but, you know, can't help but have a favorite)

Some more WONDERFUL old music:

Stealth J.R.!

Marcy Lutes w/Tommy Dorsey:

Listen to your kids' records. If you raised them right, you'll hear things you like, as well as things that repulse you. But, you know, build on the commonalities, respect the differences, and just be thankful for what you got, diamond in the back sunroof top, etc.

NOONAH!

Well, not everything in between...

BS/SN never had any genuine hits like ECM had (several times over, actually) + it took them a while to get even halfass distribution/promotion in the US (at least where I lived...). I have far more enthusiasm for far more of the SS/SN catalog than I do tor the ECM catalog, but if anybody's wondering why ECM seems to draw more attention, that's a good reason. That, and, oh by the away, ECM si still a very active, productive label.

Dude - 1974-75, college jazz radio (which means only a few people were listening anyway, the station then only played jazz for a few hours in the evening), listener base highly stoned...there were no complaints. Plus, i knew Carolyn, we lived in the same dorm. she was totally cool with it. Besides, Side 1 was just 19:20, not THAT long, I mean, the underground rock stations would play jams about that long, so...The station DJs then were volunteers and the jazz DJs were jazz fans of one kind or the other (contrast that to today....). Carolyn was totally cool, a big Leon Thomas fan, IIRC. I know that she was happy to play both it and the Mingus. I hope she's still alive, and I hope that she's happy in life. Different time/place, altogether. Looking back, it seems miraculous that there was so much access to so many currents, all you had to do was keep your eyes and ears open, and not get scared (or as they used to say, "don't punk out"). The whole underground hip-hop thing, not dissimilar in that regard, although of course, operating with and in a totally different world. But I hear that stuff and smile.

Now that I don't know. That was 30 or so years ago and at some point, I was like, oh, candid/Alan Bates again, finding stuff that wasn't supposed to be there, yawn.

Definitely a "hang on every note" performance for me....I used to call into the campus radio station and request it one night, and "The Creator Has A Master Plan" the next, that was my request rotation. To the DJ who gladly complied, Carolyn, wherever you are, I love you!

Truthfully MFT is not the "stone cold classic" for me that it is for many...at least not the Atlantic version. The live version on Selflessness, otoh... I herd "Transition" before the Atlantic MFT, and that set an initial bar for me in terms of energy and direct impact that took a few years to adjust to historical context. I definitely was coming in with a Hendrix-informed esthetic, so... Here's another one that I can still hang on every note of, then and now:

This shit is OLD! But it still sounds good!

So...you're looking for any jazz record made after the death of John Coltrane that is memorable in the "stone cold classic hang on every notw" way?

Do you mean "post-Coltrane" in terms of musical evolution, or simply chronologically?

Start with The ESP Records and then move to Ancient Ritual. Those are epochal. From there, there are no wrong answers, in between or afterwards, really. but those are the two answers that will always be right. Keep in mind that I'm one of the people who want to hear everything he's on, period. Love the way the guy plays.

Spent the last two days quite unintentially with music brought to me by the letter "P" First, all from Prestige (also "P) on a CD reissue that coupled it with: I can understand the intent/context of these records infinitely more now than I did at the time of their release. I can't say that I like them as equally infinitely more, but they are a lot more enjoyable than to have in the room now. This one, otoh, yeah, I dig it a lot more now than I did then, if only because of the rhythm section, who is about as great as this type of thing gets. Houston Person has been an honest player all his life as far as I can tell), but he has never been a 100% "jazz player", especially in these earlier days. He sounds to me like what King Curtis might have become had he not gotten all the hits and record dates. And Houston Person gets to the reed in a way that few players have.Maybe that's jsut a tenor thing, but hey, there it is. So, hearing it like THAT, yeah, I had some fun playing it 3-4 times in a row. Person again, and it's good, again in that "qualified" way. But it's the second half, with Rusty Bryant and Melvin Sparks where, finally, the qualifications become unnecessary, hell yeah, Rusty Bryant, THERE it is, always, always, ALWAYS! Even a dogass arrangement of "Proud Mary" is overcome by the collective soul power of this band on this day, and i DARE you to say that about any other band, ever. Produced by (houston Person (see, working hard!), again NOT recorded by RVG, to interesting effect, (who much of what we think of as a "classic" B-3 sound is actually RVG?), a little piano (everytime i hear Phillips on piano, he strikes me as having a very deep touch), and oh, yeah, ben Dixon, what's not to like? Person again, and for once not recorded by RVG, which is kind interesting, because at times he has kind of a Charlie Rouse-y gruffness, which the uber-reverb of RVG doesn't really reveal. And it's all "straight ahead", no funk-jazz. I don't think Persona was anywhere nearly as comfortable playing in theis vein than eh would become (really not until the later 70s/ealy 80s), but I do like how his honesty comes through - he palys what he knows, and plays it like he means it. It's jsut that at this point, he doesn't know that much, but it's ok, cat was on the scene and working hard at working hard - and at getting better. Anybody who can find fault with that...show me a better way to do it, please. SO nice to at last have all the Booker/Patterson session under one roof. A longtime sentimental favorite, and if I sounds all Ralph J. Gleason-y emocute when I say that the opening and closing bridges of "Sentimental Journey" are devastating, so be it. yeahyeahyeahyeahyeahyeahyeahyeah "lounge"-etc. BFD. "Lounge" is jsut code for "a gig where you have to play for the audience first if you want dat money. Some people cna do it well, some people gotta okie-doke it, and some people got the will and the skill to be damn near transcendental about it. They cna finf the truth - there turuth - in damn enar anything and then get it over to you like they mean it, because...they do. It, not that, it. Trudy Pitts was one of those people. Finally, away from Prestige, but still in the "P"s: Carl Grubbs on alto, maybe not the most polished player, but it don't hurt him none, and the rest of the band is all the way on it. So, the letter P has been good to me this week.

So they're recreating a flow that maybe didn't exist to begin with? A simple "Don Thompson did it this way because it makes a better record" would have sufficed, but the answer as provided just makes no sense to me. You either have entire sets or you don't (and I would imagine they do). There's either technical/balance issues (which I'm sure there are on occasion) or else some nights were better for some tunes than were other nights (and I'm pretty 100% sure about that, too). So, just say so. None of this "creating the same flow" silliness, ok? That's not what you're doing. You're taking the best takes and making the best record out of them, which, by god, is what you should do! I'd be pissed if you didn't, unless you went total documentary and said so up front. But if the full set of tapes you have do not "flow" as well as does (or in a manner similar to) the record you want to release, then just say so. It's not complicated, nor is there any reason to cloud the matter..Live gigs are not records, and in pretty much every way imaginable.

I've not cracked the set open yet, but...if you have to rearrange the playing order to create the same flow as the sets as played in the club - and you already have the recordings of the sets as they were played in the club...what am I missing here? Why are you trying to create something that should already exist?