JSngry

May I ask what aspect(s) of theory you're looking to learn? Terminology, applications, implications?

a little goes a long way, and there's more than a little here. but anybody who says something along the lines of that they "don't see what the fuss was all about"...well, can't help you there. Even so, a little does go a long way. And there is more than a little here.

I had heard collapsed lung, never heard lung cancer until now.

Hey, the Rangers are at .500 and the Astros have yet to win a game. What's not to like about that, I mean, duh, really!

Parade was on Milestone, from 1979:

Going back to the LT Series, Cuscuna has kept Hank plausibly appreciated for 40+ years. I certainly hope that there is somebody around to carry on that task, and also that there is a cultural climate that will be receptive to it. "Hip" was never hip, never will be. But hip is forever, hopefully.

An uneven batch, to be sure, All Blues & Parade. Those are the only ones I have in mind. Are there more?

I've never been disappointed in any Ron Carter record that had Joe Henderson on it.

CSVs are cool, small file size, still opens in Excel, from wherein you can format/save the data any damn way you like, including as a table, if you like to roll like that.

Ah, 3500-ish...that was a missed opportunity...but I didn't have a computer then, so perhaps not!

how many items do you guys have that it's not a lot of time entering all the info into Excel? Or all you all retired with unlimited free time?

I think I saw him with James Moody @ Fat Tuesday's in 1980(?), but that might have been Kenny Barron...all I remember about that gig was that Moody played his ass off, and that Al Harewood was on drums. I was shocked as hell that Al Harewood was alive and playing (this was pre-instanet spped of communication), and not at all surprised that Moody was a total badass as both bandleader, presenter, and player.

The New Orleans record was recorded for Riverside but never made it out. http://www.bsnpubs.com/new/milestone.pdf

Same. I do think it's a positive that he recognized the shift in emotion of the later recordings. Me, I put it down to a stubborn passive-aggressive response to the usic-wide climate of playing more - more notes, more intensity, more aggression, more everything. Hank reacted to that by playing less of everything except personal intensity. The intensity on something like Dippin' is more than a little powerful, precisely because it's more energy jam-packed in minimal sized deliveries. Kno0wing what we now know about Hank's "apparent depression" (and no, I'm not qualified to make a clinical diagnosis, but that's what it seems like with all the anecdotal evidence), there's a "militant minimalism" in the music that seems to reflect what was also going on in the person. Also glad that he noted that last version of "Summertime", which is really one of the more bloody pieces of recorded jazz, all things considered. But that's a pretty bloody record, period, whenever Hank is on it, which is not always.

Appropos of nothing specific, but gauzy is what a generally and liberally applied buzz does to sleazy.

omg, just now looking at what this really is...it's real, isn't it? I was around for the tail end of that "era"...it was how I got my ass out of Denton and out into the rest of america (and just a teence of Canada)...musically, it was a trip, to put it mildly. "Aspirational" at every level, and believe me, there were a seemingly infinite # of levels...I learned so many lessons doing that circuit for 13 months, and I met my wife too. If i ever do listen to this, it will need to be under adult supervision, adult medication, and adult restraint. Not one or two, but all three, at the same time, for the duration... I don't think I'm ready.

There's also two Nat/William Fischer collaboration's on A$M/CTI that equally as all over the place as the Cannonbal albums under discussion here. However, ti''s a totally different place that they're all over. Those guys had a business sense that considered all the options equally, let's put it that way, and maybe only in retrospect.

Have you gone back and checked out all the NAT albums with Joe(s) on board? I'm still finding "deep catalog" Atlantic records with Joe Zawinul aboard as player and/or arranger, basic pay-the-bills stuff, but he was getting chances to arrange (as opposed to compose) on record a lot furhter back than I had realized.

Remedy that, please (that's a friendly suggestion in the form of an imperative...). It's the one that is TOTALLY all over the map. Talk about taking a trip....do it via LP if possible, that's an experience that is very..."White Album"-y. Agreed on Deasy, but Nat, Jr...refer back to his input on The Price...for context. It's a shrewd career gambit, to be sure, but it's one well (brillaintly, in fact) played in multiple dimensions. Pedal tones: https://en.wikipedia.org/wiki/Pedal_tone

So do the pricing structures of the used bins, often enough. Just sayin'...

I'd make the case that their truest greatness lies in the "inconsistencies". I mean, hell, (relatively) anybody can have a "great band", even a "progressive" one. But it takes a certain kind of genius to just not give even half a goddam and just go All Freaking In on damn near EVERYTHING. That's more than just "commerce", that's getting into social relevancy and a desire to bring about a more unified culture (and I'll say this for the umpteenth time - the one time I saw Cannonball live, cs. 1974, it was the most diverse audience I've ever seen anywhere, for anything. That does more than just make money, that creates a bonding of the social fiber, and don't think that's not important in the face of "divide and conquer".) With some people, their "commerce" seems more ignoble as time goes by and we get some distance in the taillights. With Cannonball, Miles, and others, it seems to grow in nobility, like, these were people who KNEW that ""we" were many, so in numbers, in diversity with some common binding ingredients, there could be strength, fertility, growth. Here's another thought - setting aside all the obvious differences, in David Axelrod, did Cannonball have his Teo?

Not sure why John Scofield, or George Adams, for that matter, were brought in for this one other than "name appeal" or some other label-centric synergy. McCoy solo is more than satisfying enough for me. The additions seem to diffuse the focus.

Post-GrubHub: https://www.eater.com/2016/9/26/13051528/most-ordered-food-delivery-america Pizza and Chinese food were once synonymous with delivery, but people can now order alcohol, sushi, and spaghetti delivered to their door.

I think I first heard/heard of Odean when I heard him w/Max at Carnegie Hall, Newport/New York, 1980. Was expecting Billy Harper, was momentarily disappointed, but that was, like micro-momentarily. Next heard him on Almost Like Me, which was a bit of a mindfuck, between him and Gerald Veasley. I've been an advocate ever since. Catalyst, though, was never really on my radar for whatever reason. The records were in the stores, but they never got radio play or word of mouth around here. Bought the 32 Jazz(?) collection, and kinda see why...but hindsight is 20/20, as it is with The Visitors. Not standing out is not the same as not being there, lesson(s) learned. The Ellington/Brown is a stone gas, bought that one as soon as it was in the stores, iirc. Strongly, urgently recommended, as are any later Ellington "piano-centric" records. Live At The Whitney, that's another one. But this duet with Brown is something else, very, very open playing there. Apart from that, remember when ECM had....edge?