JSngry

Those of us with a certain spiritual training (currently accepted or otherwise) might be starting to feel like this is a "Rapture"-like event going on amongst our ranks. Perhaps we knew this day was coming, but were not sure in what form, or when. There are implications to this. But - RIP to a true giant, not just of music, but of lifejourneying.

I'm thinking that nobody bothered to consider that if they put out a Mal Waldron record AS a Mal Waldron record AND put Mal Waldron's picture on the cover that they would have to specify that Mal Waldron was actually playing on the record. Little did they know!

Sublimest of the sublime. Desert Island material, although time standing still on a desert island might not be something everybody would appreciate. That notion makes some people nervous, or so I've observed over some time and no desert islands. However, if - then, ok? God only knows what's survived, but if they got 34 tracks for the Warne record...if all of those (and more?) are still around, you're talking a helluva historically and immediately profound document waiting to be unleashed on an unworthy world, aural quantum mechanics you can pat your foot to. Besides, Bill Evan is relevant to this gig like a freaking donkey is to the Grand Canyon.

Good music to start a day that is known to be chunkybusy for the next 12 or so hours. Detail, pressure, stress, but never angst, and always resolution.

not just playing them, but composing them as well. The guy has a sense of melodic construction way deeper than "song"...his was the knowing of size, shape, knowing where the entrance and exit points were, and what to do to navigate between them to maximum meaning. Check out these 16 bars... 16 bars, coulda been on a 78!!!

Yes, let's be doing that, albeit from an unlikely(?) source!

Not sure about the Innovations Orchestra...I think it was the band after that, the so-called "New Concepts" band. Also not sure about the friction between those two specifically, but Lee frequently referred to having felt a draft from some in that circle, for various reasons ranging from purely esthetic to more practical (like it "ruining" his tone). Lee was always consistent though - he had a family to support, he needed a steady gig, and Kenton gave him one. Whatever musical/esthetic reservations he might have had about that gig, he kept them to himself, best as I can tell, focusing on that debt of personal gratitude in being able to meet a very profound need.

COVID-19 complications, apparently: https://www.google.com/search?q=lee+konitz&client=firefox-b-1-d&sxsrf=ALeKk01LwGFwzdtGjheBoyPxJ4o8xeKrBA:1587034277466&source=lnms&tbm=nws&sa=X&ved=2ahUKEwiI7Oqy4-zoAhUMiqwKHSVUChsQ_AUoAXoECBcQAw&biw=1680&bih=896

But Marion Brown is getting two records b/c 21st Century CD logistics. NO FAIR!!!!

I'm not even sure that I am going to listen to it. I just had to buy it because it was Hank. Nothing more complicated than that. A totally Hanklovian response!

Just to be clear, "blacklisted" was never explicitly claimed by anybody directly involved. But the backlash agains Abbey & Max after their early 60s records was pretty overt, and someboy, I think Max himself, told the story of being pressured by Atlantic to play something "familiar" for his record after Members, Don't Get Weary. so he told Atlantic, hey Black Spirituals, THAT'S familiar! Well you know what THAT record was, and it was his last for a US label for....how long? And fuckyeah, THAT'S why everybody be jonesin' for a MaxBillyBand set, becuase WHERE THE HELL DID ALL THAT GO??? Not here, that's for sure... I've also heard that both Max and Abbey could be... "difficult" (and that's a word that means so many things to so many different people, but it's usually weaponized when it's not being used to celebrate or mourn). And some people on any side of a discussion do not go for ass-kissing, or even diplomacy, ever. So I don't know for sure. After Max and Abbey split up...who knows what went down around and after that. people are people and great, noble musicians can be just as vindictive and pernicious as trifling and ignoble ones. Greatness is by people, not of people, if I'm saying that right and if you know what I mean. Just saying, though - that record was a big deal for me because Inner City released it when I was in my first throes of Max World Hero Worship, fully accompanied by Full Frontal FUCK THE MAN!!!! I've never really lost that, but I do have a bigger/broader perspective on "the way business works" now, and that's affected, not my moral compass, but definitely my sense of Realistic Expectations, my Survival Compass, if you will. Oh yeah, I'm with Tony all the way on this one.

Dude...if nothing else, you'll want it just to hear how totally different the record was than the session. That's not the only reason, but seriously, all the other Miles records that Teo did involved artful crafting, at times at a pretty significant compositional level, but IASW goes waaaay beyond that - and you will have no idea just how much unless you hear this box. I was, how do other people say it...gobsmacked.

So, I went ahead and responded to a Mosaic E-Mail Proddy-Poke and ordered this thing the other day. Looks like it's not on back order or anything? I so do not need this set, what's to be had, I already have, and almost all of it on LPs. But hell, the Mobley Mystique is pretty much incurable, it looks like. Once bitten, forever infected. No complaints.

Good call on the Abbey, and well worth noting that at the time of its release, it was the first US availability of any new record that was all her own in 10+ years, and would be the last one for another...can't tell you off the top of my head. And I don't think that Inner City released it until...1977? 1978? Was she blacklisted even harder than Max reportedly was? You tell me. From the looks of things, yes. Can't speak to the total reality, but from the looks of what I see from an admittedly limited view.... She landed ok, though, finally. But that was not a given.

ears open, thanks!

yeah, I know the America/Musidisc family of labels Kinda, shall we say, "loose" sometimes?

I'm thinking that if it sounds like him and it's a micro-label record with his name on it, that sloppy annotation and/or subsequent discographic work is at least a 51% good chance over him not being on the record at all on a trio record of his compositions w/o him on it and then making sure that somebody else played like him to boot! And truthfully, that smaple, where it sounded like him soloing, it sortakinda sounded like there was another set of hands doing subtle supporting keyboard work, maybe, ya' think?

I've heard that they carry a very distinct odor, something to do with the resin as it ages?

Who still plays an Ampeg?

DAMN this is a good record!

Are they still available? Also, what are the dimensions of the collection as you currently have them stored?