JSngry

I also find that different "cultures" have widely different notions of what constitutes a proper conversation. There are those who cannot stand to be spoken to while speaking and get all pissy, and then there are those who appreciate the reaction and go with it, built it into what they're already saying, feed on it. This is over simplified in "racial" terms. but it applies to music every bit as much as it does verbal. And not just improvised music! Some people just don't liked to be touched while they are touching. Good luck figuring out how that all works.

A not tonally random thought - since we're not right-sizing of demands of Earth, maybe Earth is right-sizing us, just to show s who's really boss here? This could take a while...especially since the current existential paradigm has long(eternally?) been built on humans (with a slowly but exponentially increasing acceleration) thinking that they get the final say.

Ray Hair? https://www.afm.org/person/ray-hair/

Oh, those two 1972 Dexter Prestige sessions that Ozzie Cadena produced (3 LPs, 2 CDs) have bugged the living dogpiss out of me since they were released. No, the playing is not anybody's best (nor is it their worst, I'd give it all a solid B+), but the biggest f-up is not in the playing, it's in the abomination that is the horribly, grotesque reverb that some ungodly combination of Cadena/Van Gelder decided was the thing to do at the time. No, it was not. Maybe they were trying to cover up the "looseness", or maybe they were trying to make it sound "modern" but all they did was blur it up. That's all they did. NOT fixed in the mix! When they put out that Dexter Compete Prestige box, I prayed to every known and unknown god of every known and unknown plane of existence that they would get that crap out of there so we could hear the basic playing for what it was. No such luck. I think you just have to learn to listen to the playing on the records as separate from the sound of the records, so that once you learn how/what people play, you can hear it regardless of how the record sounds. And sure, that's a retro-fitting notion, but if you're going to listen to some of the same records for decades on end (hell yeah!, some of them!), then hey, an evolved listening approach is as desirable as it is inevitable. Just saying, Billy always be Billy, no matter how the records differ in the aural perspective with which they present him. Forewarned is forearmed!

Ah, Amazon Japan, ok. Amazon US lists it as unavailable, with no ETA. Dot Time syas you can buy it now from them, but I hesitated b/c of it not being on amazon. Guess I'll try it from them, then. The main draw for me here is the Popkin/Tristano things. I like Popkin, fringe-y as he is (in a music that is already fringe-y). I admire him for sticking with it all the way through. I can't begin to imagine what kind of emotional wherewithal anybody would have to have to go - and go strong - for decades in such an insular world...but I guess that's what they all did (and still do), created their own self-contained support-group society so they can play the music away from the rest of the world, you find them, they don't find you. Quite admirable, probably/hopefully.

Has this been actually released yet?

What I've always loved about Billy's playing is the constant "conversational" type of accents he brings, he's not like Blakey or Max, who chatter away, but more often than not have some sort of pattern-in-mind thing going one (especially Blakey), he's more like Roy in that he just drops that shit in where he feels like it - and where he feels like it seems to always be always the right place for what's going on at any given moment in the conversation. What got me on the Hampton album was after about the 2nd time through, I was label to more or less listen to the two of them on that record ins strictly rhythmic terms, an ddamn that's some busy shit, not cluttered or otherwise deleterious, busy. Like, that's a helluva lot of moving parts, not just on occasion, but all the way though. And again, no real "pattern" basis to it. Personally/mutually attuned reflexes aplenty, but no patterns. Just a constant bouncy-bounce infinity of rhythmic action. I bet if somebody took the time to graph out the overall accents those two make together during the course of a take, graph it all out into one continuous plot, like X-Axis=time & Y-Axis equal rhythmic hit by instrument (multiple points acceptable for simultaneous hits of what ever type)...I bet it would boggle the literal-minded who need proof beyond the aurally obvious. I mean, you could do this for any bobby-waevy jazzmusic and be amazed, but these two, I think, their graph would over time prove to be pretty unique/identifiable, there's a "signature" there... Here they go again! For that matter, speaking of "Personally/mutually attuned reflexes"...it's about time that at least sometimes when people compare musicians to athletes that they compare the athlete to the musician and not vice-versa.

Or...look for those records with Clifford Jordan, any of them. ALL of them. The hell he wasn't!!!!!! His pocket was more likely to have a watch in it than a joint, but...a pocket be a pocket, no matter what form it takes or what it has in it! Ok, for years, I though it was Hank, and of course it ws, but dammit, it happens with Charles Davis too, these two (+The Eternal Sam Jones)...Infrastructure indeed!

No, that's what ERs are for (and if you have chests, as in more than one, uh...better load the car now and get to pedallin'). If you don't believe, just watch the TV Newses (I recommend KOCO-Video Channel 19) Places like this are for serious music discussion, vacuous social commentary, and developing the Zen to make them into the same thing. At least that's what I'm here for. YMMV, of course. That, and let's be honest - jazz forums are a GREAT place to meet chicks!

Ok, obviously(?) Sam Jones, but what really brought this whole thing into focus for me this morning was about 3-4 spins of the Slide Hampton Roots album (on Criss-Cross, see if Tommy's Jazz Depot is still gots it in stock and go carpe diem accordingly), with David Williams on bass. Now, David Williams was a fine, fine, fine bassist, who could - and did - more than adequately hang with this crowd. But for no other reason than birth-date, he didn't have life-experience that somebody like Sam Jones did. so there's going to be little, uh..."linguistical nuances" that he's not going to have that somebody like Sam Jones or Larry Ridley or whoever else it might have been, would have had, just from breathing that air at that time. And it's to David Williams' credit that he does not, because if he did, that would mean he was speaking in somebody else's voice, not his own. So, you know, I'm listening to this record, and it doesn't make one bit of difference, and that's because it's really NOT about Cedar/(bassist)/Billy - it's about Cedar and Billy first and foremost. Of course, you need an excellent bassist to not fuck it up, but an excellent bassist ain't gonna make them do anything that they weren't going to do any way. You're right they did a fair bit (actually more than a fair bit!) post-BN, so,...just go for it, and let your tenor player be your guide, but remember - solos/soloists are really not the point of this lens! and not to imply that they were the only people to do this. Hell, that's what any great rhtym section does. Just to say that they got their own thing, those two. THEIR thing. Sure, it was a combination of two personal things, but put them together...it's one of those whole greater than the sum of the parts thing, they really become one thing.

We can live just fine without eating processed meat. It's at best a convenience and an economic behemoth, not a necessity for survival. Not even slightly. Many people already do, although some of us (blush....) are REALLY out of practice.

I don't see why people would expect everything else about damn near all commercial and very many personal interactions become really...thrown off? Unbalanced? Disrupted? by a freaking pandemic. It's not like the USPS mostly exists in a literal parallel universe where shit runs as it always has (however that might be...) and then daily they find a wormhole to pop in through to deliver shit to our houses before popping back through it. Neither snow nor rain nor heat nor gloom of night stays these couriers from the swift completion of their appointed rounds...I don't see anything even remotely referring to a global pandemic, right? Sorry bout them records, bros. Life be inconvenient sometimes. It's nothing personal, really, it's not. It's just life doing what life always do somehow, only this time it's happening to us and our records. Deal with it, ok? And hang on, either a cure, or a vaccination, or some really amped up 3D printers are going to get here one of these days.

"Afro" anything that doesn't look at the "Afro" first and then take from there is just not going to be a complete consideration. Even at that, it may still yet be incomplete, probably will be, in fact. But it will be less incomplete to a considerable (enough) degree. As time passes and assimilations become more ingrained into all of us as to at some point become hard-wired, this may seem irrelevant. But I don't think it is, because...as much as I despise them and their uses, "narratives" matter, because narratives are used to create and then reinforce ownership, not just of psychical properties, but also of minds and souls. And if ownership is not 100% honest, both immediate and in the ongoing, it is at some level or another an attempt to disguise/justify a theft. A fraud, a lie. Such things eventually have repercussions, as do all things. So hey world, repercussiate responsibly, please.

So, yeah, you put Cedar Walton & Billy Higgins together on ANYBODY'S record and shit starts happening. I don't mean from the soloists per se, but behind the soloists. Those two have their own conversation going all the time, and no matter who's on top, they'll have THAT to work with, a truly mind-melded harmonic/rhythmic synergy of perpetual pocket. Just want to call out how so many times, what the soloist is doing that sounds so good is because those two are doing their thing. "Accompaniment" is not the right word for it. "Infrastructure Creation", maybe?

DAMN good record!

I think it's more "interesting" than it is actually interesting.

She's on that first Pharoah record, on ESP.

Wondering how Steig got into the mix here?

How bout them big sour pickles too?

Because I like vocals:

Yeah, big time.

https://www.youtube.com/watch?v=6RJzJFsOWAk&feature=youtu.be more than a little, uh...loose, but who but this gig together?

Pretty groovy sounds!

Leave on if you like, but crack the top or/bottom seam in such a way that it relieves the pressure.

Ultimately, follow the money, right? Not just in, but out. And not the paper trail, but the actual money.