JSngry

By the time this one came out Everest was more than happy to put out a bootleg of tow. Or three...

RIP indeed. One of the originals, for sure.

That guy could play. Heard him live in a club with a Tito Puente Latin Jazz All Stars band (or some name like that, in a ban with Jorge Dalto, John Rodriguez, his brother Jerry, Mario Rivera, I forget who else, but Andy was the one who held me rapt most of the nigh, eyes WIDE open, literally leaning into the moment(s), ears like a hawk's eyes, I was just like JEEEEEEZUSSSSS, I wish all musicians were THERE like that. RIP. I don't care if he hadn't been playing for a while, just the loss of that kind of a spirit is a loss to the living. That guy could play.

I'd be happy with a Capitol live/"live": box (and not from Mosaic, really, outside of Cuscuna, I don't think they have anybody on hand right know with the disposition and/or capacity to appreciate what those records were and did in the overall culture). Additionally found material may or may not be a plus (I mean, ok, don't need TOO many versions of "Oh Babe", right? But otoh, more versions of Rumpelstiltskin, Hippodelphia, etc? HELL yeah)). As for market...not so sure, but I think there is one, still. The "purists" and such are not even a consideration for music like this, but that's kinda the point of what makes it important - the "purists" were never in on this band or this music. They bitched about it then and they will bitch about it now, so, hey...but the cratediggers have long been into this stuff, and there's a whole other non-purist audience that is very much into they type(s) of music that this group did so much of for so long. So yeah - not Mosaic. but definitely boxable. Besides, anybody who can listen to the Zawinul-Duke/Booker/McCurdy trio and not feel a stronger-than-strong pocket regardless of "style"...this music is not for them, period.

Here, this is not marginal, it's trivial: Cannonball was never really trivial. the music, maybe, sometimes, sure. But in terms of the business and the overall culture, never trivial, and certainly never marginal.

Yeah, well, there you go, margins are defined by what we stay inside of, importance by what drives us to go outside them. And the proof for each of us, I guess, is how far you go with importance before you run out of a place to put the margins. For tonight, anyway. I mean, I'm ok with "marginal", the world is round(ish), not flat, it's not like you fall off and get lost to demons and space serpents, it's all there, it wouldn't there be if it wasn't.

I know what you think that means. But if that's REALLY what you mean, then even the most "important" Cannonball is marginal. Really, it is.

Relatively unknown, yes. Compared to many Blue Note/Milestone/Verve/Etc. And no drop-off in quality either. Never got major distribution or press in the US

Stealth Joe record...

You tell me...

Yep, Cannonball & Nat both. Plus Louis Hayes through Vee-Jay.

Coattails. Name recognition. Brasil 65/66/etc was having big hits, Top 10 hits.

But they - Capitol - loved that album with Sergio Mendes, for whatever reason (and I think we all know what that was) But other than a ragtag compilation or two along the way, did Capital do anything with those other albums? So then, ok, let's also look at Cannonball outside of just the lens of jazz, let's look at him in terms of business and record company. Captial at the time was notoriously "white"(in overall taste, if not always color, although, Dakota Staton!) in their jazz offerings, with the exception of, at some point Nancy Wilson, Lou Rawls, and Cannonball. And with the exception of Cannonball, none were "hardcore jazz". And yet, all had broad crossover appeal within the various Black Music communities, as well as into some Caucasian ones. So let's look at how Cannonball kinda moved the bar for Black Music on Captial, to go from Great Love Themes to The Black Messiah...one wonders if Capital fought at all to keep Cannonball...

no, the joke is structurally sound - premise, set-up, development, punchline/payoff. Granted, it's not The Aristocrats, but few things are. Taste is the last causality of humor.

Not listening to anything different, or differently, other than where I listen to it, sometimes. I only miss people not being there when I'm there, like, WOW THIS IS GREAT WHY AREN'T THERE MORE PEOPLE HEAR OMG!!!!!. And sometimes, like when they need a lozenge or three, I kinda wish they weren't there. But otherwise, if a full house falls in the woods and I'm not there to hear it, does it still make a sound that I miss? Generally not, although once in a great while, yes. Live music will return. Just wondering how the orgs I've already paid for gigs that got cancelled are going to handle all that. Cash flow's a bitch, hey. But that works both ways. Peoples gotta get paid, ideally for services rendered, but in these cases...I want to see what the plans are and how they're presented. now is not the time for a lack of humility, if you know what I mean. appeal to the better instincts of all, that's all I want to see. I'd like to be an enabler of a noble recovery, not a pity party, that's all. As for recorded music, hey. It's recorded music. Paly your records on your record player, same records as before, same record player as before. If it was already old music, it's already happened, ya' know? and the fact that it IS recorded means that the aging process has already begun, so.... Music will survive, as will the people who also survive (uh, yeah?). Looking forward to being there to watch that happen, when it does.

Well, if a woman asks, "Are my testicles black?", then you got a whole 'nother joke!

Yeah, but then you lose the cigar-smoky burlesque Roaring 20s thing that is the foundational premise of the humor of the joke. If it was acted out in sketch form...it would be W.C. Fields or somebody like him playing the man, and he'd probably be sitting in the bed with a stogie and a shot glass. The joke is structurally sound, if not particularly polite in any regard.

At least one (maybe the only one?) was on Capital before it was on Landmark, the record with Sergio Mendes. That's what makes it so weird... https://en.wikipedia.org/wiki/Cannonball%27s_Bossa_Nova I think this one even saw an issue on Pickwick! not at all my favorite, kinda my NOT favorite. But it's there anyway.

jack-a-dandy? WELL now!

you most dandily did not!

Missing the album with Nancy Wilson!!!!! There's also those weird riverside-Released-As-Capital-Then-Again=As Landmark things, where are they now?

7-8 if you combine sessions/records, at least that, I'd think. Cannonball was pretty active on Capital pre-Mercy Mercy Mercy as well as after. As far as what's in the can, I was delighted in both thought, word, AND deed when they released that Money In The Pocket thing. More like that, please!

I can't claim to ever have heard him, just of him, but the respect he was shown during his life told me that he mattered a lot to those whom he mattered. And enough of them were people who did matter to some extent to me, so...although the loss is not really "felt" by me, it most certainly is recognized as a loss of no small magnitude. RIP, and I'll listen one day, gonna get around to it.