JSngry

You know where both Stan Kenton AND Don Sebesky fucewd up? By not having Bill Perkins play alto more often. The Perennial Hero of ANY occasion, Bill Perkins. BILL PERKINS, Y'ALL!!!! But to the true and seemingly lost forever Future Of Jazz, we have to turn to one Walter Raim, who put it there in ALL kinds of places, really, where did THIS come outta from? Sebesky maybe coulda, but hardly, if ever did, not this wonky.

Although, Bud Shank, more than just a veneer here!

I Dilla's better than Shank's

1977! Get that good teenagedanceengy!!!

1977 was a pretty good year though. Maybe not for Bud Shank, but oh well about that.

Dee Barton tried to tell him.

See, that's why you can't work for the US government. Your data collection techniques are poorly thought out.

Don Sebesky did not fail without trying, though: and Jack Sheldon succeeded with supreme success: Oh, look, here's a seemingly unforced Bud Shank making the kids implore to why not Stan Kenton, mom, did he ruin YOUR college dance like he did Aunt Helen's too?

Are you that picky about all source material played by "jazz" players? Is your collection brimming with Original Cast albums, perchance? I mean, I'd love to live in a world where the Post-Reconstruction Narrative went a different way, and Southern African-Americans were totally capitalized and incentivized and abilified to create their own music industry from the ground up instead of always having to depend in some form or fashion on outside capital, outside influences, outside tastes, that shit would have been totally different than what happened instead. A widely and wildly different model for source materials would certainly have emerged, a totally different paradigm. Maybe not for the better (I mean, the fusion/tension/exploitation certainly created the hot fuckmess of an industry that made people rich, happy, and/or bitter and broken for well over a century), but definitely different. Just saying. people with an aversion to "jazz versions" of anything on the first-line-of-protestation that "I prefer the original"....that's Expectation Bias, not musical acuity. Cats are either playing well or they're not. That's music. The rest is sociology. Those two things intersect a great deal, but they are not the same things, and it behooves one's betterment to learn what the Venn Diagrams are really showing.

I could tell you that, but it would be a lie. The funny thing about Shank is that he really didn't change his basic playing on those MOR records. In the heyday of WCJ, he was always a guy with a uniques (enough) sense of bobby/weavy phraseology, but nothing ballgrabbing profound or anything, Just a nice (enough) player. In some ways, the whole MOR thing made him sound better, because he couldn't/didn't have to rely on "jazz trappings", all he had to do was do what he always did. Those records (and by far the worst of the lot, imo is Meets The Sax Section(is that what it's called?), which was a surprise to me, I was expecting MUCH better) actually highlighted what was unique about his playing, instead of covering it up with "jazz". Because as a "jazz player", Bud Shank was pretty useless except as a Pleasant Placeholder and an integral piece of the WCJ Nostalgia Game, Maybe after his "comeback", a little more..."intense", but only in self-comparison.

If they ever decide to unplug again, they should really do a collection of live material from the post-OTC bands. There are some shows out there that are searing, to put it mildly. This one in particular, which is recorded better than any live thing put out by Columbia: http://www.plosin.com/MilesAhead/Sessions.aspx?s=730619

Michelle. The album sold very well among the "easy listening": crowd, and the single made it to #68 on the Hot 100: https://www.billboard.com/music/bud-shank The album itself looks like it peaked on #56 on the pop LP charts: https://www.billboard.com/charts/Billboard-200/1966-06-11 You are referring to the actual Bud Shank version of the song, correct? Not to the video I posted, which is another song from the same album, correct?

There's a TCM app.

I don't think Bud Shank was forced into anything. He had a true hit, remember! That's what those guys were doing - trying to make money from the music business, and they were succeeding. If not as leaders, then playing all the sessions at double scale. Let's be real about that money thing, It ws GOOD money, and a lot of "jazz players" were making a lot of it. As for Joe Pass, he did make a real dog for World Pacific (Simplicity), but Stones Jazz was not it. I went decades assuming it was, but then I fianlly heard and said, uh...NO! Commercial, absolutely, and by intent. But a DOG? Somebody rescue that puppy, and trade it for all those nervous-y Pablo records, ALL of them, actually. Oh yeah - everybody today LOVES Bob Florence, but back in the day Bob Florence was THE World Pacific commercial Go-To Guy. It was how people made their lving, why would you ask somebody to not make a good living just because you don't like it? That's not a bad record, nor is it bad music, it's just easy listening done quite well. Nothing more, nothing less. Just people getting paid and not disrespecting their craft in the process. It's also a record that I bought for a buck, and I heel like I might have paid a penny or two too much for it, but it don't make me mad like some REAL bullshit does.

Also, not just a secular performer, please don't forget that. but... Too bad Roy Wood never produced a Little Richard record. God knows he made enough of them!

Oh, yeah, that. Well, he's dead now, so jokes on him! He also said this, which I think is more true now than ever.

Just don't let the CoCo bite.

Help, I'm a rock?

Don Sebesky had his chance and blew it. THIS guy, otoh, seen his chance and taked it: Tip of that iceberg...let's hope there were drugs involved along the way...

THREE tenor solos in a 2:40 B-Side, ALL of them mighty as ALL fuck! And still - LITTLE RICHARD!!!! ZERO tenor solos, and to what end? Esquerita deserves a brighter light, but he was not the the sun that Little Richard was. He just wasn't.

More than he does, but not more that Little Richard, because what Christian McBride says.

Piano being played.

That's the Rinaadiningadinkadoo record, right? Some pretty comprehensive sessiontapes are out there for those, and yeah, amazing to listen to, not as a "record", but just as work. And he was harder on himself than he was on anybody else.

Dot Time processed my order quickly and cleanly I was well-pleased in tat regard. As regard to the record, I like it good. It's incredibly "insular", but that was kinda the whole point of the post-public Tristanoworld (imo and whether or not that was the hope, that was the result, pretty much), there's nothing "gig-like" about any of this, it's all "recital" like, in a good way, though. People playing only for and between themselves. Popkin, yes, I like hime just fine. For what this is, he's a king. Mancuso seems rough, at time crude-ish, but tristano plays with something resembling "clu swing", which is different from what he does elsewhere here. Crothers....sorry, I just can't hang with her. I guess if you were there to live it, you'd live it with her there and that would be one thing, but I wasn't. so it's something else. Lennie himself...always worth hearing. The "private" and/or "reclusive" aspect of his life changed the vibe of his playing, but not really the substance. This guy is not to be ignored, if only for his harmonic reach. HArdly "canonical", but it's a good record for those who dig Tristano at any kind of depth of interest.