JSngry

Yeah, it's still tough guys being tough, mean people being mean, sadism comes natural, there will be gratuitous nude servile females, hell, it's HBO & crime.Same as it ever was. Change all the superficial and keep the basic behaviors. Right now, Brenda's watching something called Hanna, and I'm, like, geez, woman, have you no end to your appetite for mean people tv shows? Every time I go into the room it's either guns or fists or screaming in pain or some shit. Where does it all come from, it seems that there's an endless supply.

Sure, once the "fad" had faded and a new one begun.

Gene Ammons had to be marketed? Other than just being who and what he was, how much marketing was there other than jsut getting somebody to make the records and make sure there were gigs? It's not like he needed much help past that. As it pertains to the topic, though, the whole point of the marketing of "West Coast Jazz" and the audience for it in its time was pretty much to NOT be anything like Gene Ammons. Is this your favorite Lighthouse All Stars record? Is this your favorite Porky Pig cartoon? I think it's mine. Just saying, if there was any interest among those labels in ANYBODY making Gene Ammons type jazz records, it's not like they couldn't have been made by somebody. But that was not where those labels were at, musically or socially. Again, I wouldn't really call that "racism", at least not as I have known the word (but I'm fully aware that what the word means to me may or may not be in-sync with what it means today...). But it was a musical/sociological reality that played out in record making.

When were the vast majority of them recorded? During the heyday of "West Coast Jazz"? Probably not? Plas didn't need the money, the dude was on SO many R&B (and other) records it's not even countable. But he's always been quite a fine jazz player, to the extent that one wants to view those as different musics. But he could have been marketed as a LA Gene Ammons, if you know what I mean, and who was going to do that? Again, not blaming anybody, not sure that there is anything to blame anybody for, but let's be real about the where's and whats were of the LA-based jazz labels of the early-middle 1950. It wasn't on getting this onto the jukeboxes, ok?

Brenda watches damn near anything, I mean, she likes this "hard-bolied" stuff and doesn't seem to have too many standards about it, and she was like, "this is not good", which sort of surprised me. Part of it is that we were both all-in on Boardwalk empire and this one was simply too much like that one, so...apart from the disconnect of the character names, there was that, too, just not any reason to keep watching, seen it all before. Maybe it gets better, but we're not going to stick around to find out. Which is too bad, because I like TV shows with cows in them. Eleanor is one of my favorite TV cows ever. But she's dead now, no doubt, so...you know...time to move on. It behooves us.

Glasper only on two cuts, Moses only on two cuts, neither at the same time.

I've seen it described as a "prequel", but I don't think there's any real basis for saying that except as a defense mechanism against what appears to have been a lot of viewer backlash after the first episode.

Are you going past episode 1? If so, please report, becusae we had a hard time getting through that much. A lot of Boardwalk Empire/Etc rehashed, and not at all relvent to any iteration of "Perry Mason" I know of. Seems gratuitous, perhaps even cynical, to use that name and those characters for this story, maybe? I think I've lost my appetite for all this Live Is Violent And Controlled By Violent People ethos of entertainment for a while...I'm gonna be more violent than any of them and kill their access into my senses, destroy them at their source. Put THAT on HBO!

I like any one of Bennie Wallace records, but how many of them do I need to come back to? More than one? All? Hell if i know. But this one is good, maybe just a little better than some of the others? I like Yosuke Yamashita here, too.

Jesse chandler gets some sounds out of the organ that catch the ear and imagination. Past that, very competent!

Surviving this wave of the culldemic on the strength of some undeniable George Garzone and the happily fuquitous drumming of the late Take Toriyama. The rest of the people are all competent and Fine Musicians, but those two are getting this one put on the shelves today. The CD-R should show gratitude to them and nobody else.

What are the dates on those Teddy Contemporary sides? First one was in 1960, correct? 1960! Not looking to throw shade on Koenig, just pointing out that these labels were like any other business - when you have a winning product, you usually don't go looking for something different from somebody you don't really know. And on from the other side - if you don't know somebody who has a winning product (or somebody who knows somebody), your incentivization to reach out to them cold is going to be directly proportional to your perception of how that's going to go, considering everything else you see around you. We like to think that The Family Of Jazz just All Comes Together and None Of This Matters, but that's an attitude that is only possible when looking backwards at the compressions of historical record. Day to day, real-time life as you're living it, that shit's a bitch.

Might have been Red Mitchell, yeah. and to that end, Red used James Clay on a record. and James Clay was playing with both Ornette and Don cherry. But that's how it works, you only have access to the business if you know somebody who already has it. What Archie Shepp did to Bob Theile was the exception that proves the rule, and even then, if Trane hadn't intervened... Another thing that plays into that is the issue of, shall we say, personal habits. The East Coast labels were dealing with that. Bob Weinstock built an empire off of it. But Lion...look at the early 50s BN records pre Messengers...and Richard Bock and Lester Koenig, they were dealing with a LOT of L.A cats who were either totally clean or "controlled clean"...Chet Baker knew Bock, but could you imagine Dexter during those days trying to connect (no pun intended) with either Bock or Koenig? Who would be running interference on that deal (again, no pun intended)? Dootsie Williams to the rescue, only...that's a sad record. We ask if it was racism, and yes, LA in those days was a fiercely segregated city, with a racist power structure, top to bottom. But as it pertains to jazz recordings, the relative isolation of a coordinated, engaged infrastructure of African-American Jazz recording was probably as much a trailing indicator of a segregated culture impacting workflow az it was anything intentional or conscious. Sonny Criss, Teddy Edwards, maybe these guys were dealing with some changes in those days, but they could still have benefited from a sympathetic producer like Koenig. But here the issue remains - was he looking for them at all during that time? Why would he be? He's selling plenty of records with that Lighthouse crew, right? And were they looking for him? If they were and he shut them out, shame on him. Edwards certainly worked it out (and please recall that he was one of the early Lighthousers, his recounting of "what happened" should not be taken lightly) , however that came about, great. But, you know...at some point, in some cases, people get the feeling that they're not wanted, so why bother. Maybe they're right, maybe they're not, but that type of cynicism...fact of life. Just saying, sometimes a desperate impact is the result of intentional and/or systemic racism, sometimes it's just an indicator that things simply are not connected, period. As it pertains to Fantasy...that seemed to pretty much always be a San-Francisco thing, not LA at all.

Think also of Plas Johnson, Oscar Moore, Gerald Wiggins, Teddy Edwards, Red Callender, Sonny Criss, Lawrence Marable, Sonny Clark (sic!)..James Clay, Clora Bryant, who recorded them, and how often? They were there! But again, look at who was running the labels then, what was selling already, and then where those musicians were, and who was going to call then for a date, and are they going to cold-call, say Richard Bock? Who would the LA Ike Quebec have been? And who would have valued him?

Check out the bassoonist on this record, Pete Chirstlieb's dad: Add a step or two and you can go god knows where...from Peter and the Wolf to Deacon Blue....AND BEYOND!!!!

Hey, that hair speaks for itself.

Frank Lowe...when you think of somebody carving out an identity...RIP.

CLOWNSHOW WORLD LEADERS OF THE WORLD TAKE NOTE! Nobody can take you seriously about this unless you die, and die a real death, not a faked one so you can come back from the dead. If you pull all sorts of wacko stunts to "prove" what a badass you "are", then when you say that you get sick with the Coco, for all we know, this is all just all a show for you to come out the other side stronger and more STRONGER than ever, right? Who dares defy THE MAN WHO PROVED STRONGER THAN DEATH?!?!?!?!?!?!?!?!? World gone wrong.

If you want to parse that data more fully, look at the chronology. It's not a coincidence that once Blakey/Silver got popular and started selling records for East Coast labels, West Coast labels followed suit. You'll want to look for the contemporary classical records, btw, especially the Vernon Duke one!

Businesses are usually run around who you know, who they know, and who can make money for you, and then if there's any left over, for them. Wasn't it Shelley Manne who brought Ornette to Contemporary, as a composer? Oh, what is the subject here, west coast jazz or "West Coast Jazz"?

plural and singular

No, not misinformation, and not what I meant/ What I meant is that FB will - WILL - start showing you people you might like to connect with, based on an algorithm that shows what "mutual friends" you might have. I have one account, set up solely to allow videochats with our granddaughter and her other set of grandparents through an FB portal device. Phones were getting too clunky for that, and webcams will only get you so far. I check out my son's family sites, and that's where it all begins, the HEY XXXXX , YOU MIGHT KNOW THESE PEOPLE!!!! and hell no, not EVEN going there with that. I tell it to stopss howing me this, and it never does. Some of them i kinda know, but some of them I have never heard of in my life. And some of them....I never entered my place of employment on the account, nor to I use a real name. And YET - people I've worked with show up. People I used to know show up. WTF?!?!?!?!?!?! I totally get how privacy is an illusion (I was an early shouter about all that back in the dark ages, if you remember), but Facebook and its offshoots is/are a bridge too far for me. Whatever I've missed, I don't miss. And when this COVID shit is over, the portal goes in the closed, the links get deleted, and the FB account gets closed. Still, I bet they find me anyway.