JSngry

Like Mel Powell, a guy who had an entirely separate - and quite productive - musical life away from jazz. https://www.discogs.com/artist/378105-William-O-Smith

Here's a great appreciation, hope it's readable: As far as leader dates, his Vee-Jay albums were consistantly excellent. His Verve records more "commercial", but still. He was a consummate musician, imo. Like others here, if he's on a record, I'm all in for at least checking it out.

To call him "impactful" or "archetypal" seems trite. He was a life-force, for so many, for so long, and in so may ways. RIP. We were blessed by his presence.

Also: Foursight: Stockholm Ron Carter Actions Penderecki/Don Cherry & The New Eternal Rhythm New Direction Gene Russell Love Letters Anoushka Shankar Wild Tchoupitoulas Wild Tchoupitoulas Adventures in Afropea Zap Mama Other than the Ron Carter & Gene Russell (the founder of Black Jazz Records) sides, these are not "jazz" in the strictest sense (or in any sense, possibly), but will be of appeal to many "jazz fans" anyway.

And that weird clownhead logo is the same used on the early Esoteric LPs, so this item sure seems like it would have a Jerry Newman provenance. And since it's Monk...this may or may not have seen commercial release.

Esoteric Records was Jerry Newman, so...this might be something,

Good reasons, well-stated! The point about Quintana is indeed well-taken.

Interesting musician. RIP.

As far as LP-experience goes (which is how I came to these records, Side 1 of Unfinished Masterpiece (tracks 1-3) is one of the more, uh...declarative musical statements of the 70s, by anybody, period.

I'm pretty familiar with Palmieri's work (overall,) and all things considered, I think this is his masterpiece (overall). It's a tough call, though. Ok, masterpieces, although he got Marvin Gaye-ed on this one"

Neither aspirational enough or realized enough to be particularly inspiring. In truth (and with a buttload full of hindsight made possible by all kinds of then-unknown-to-the-beneral-public recordings and such), what this music sounds like to me is like, Chick and Holland kept pushing Miles to go more "free" or "out" or whatever adjective you want to use, and Miles gave them their head to a good degree, but not totally, and finally told them to get their own band if that's what they wanted to do. This music sounds like that - like a Lost Quintet Gone Free - a lot more than I realized when just listening to the two LPs of it that I had back years ago. The problem, though, is one of personnel. Miles held those bands together even as he let the people play their thing. Their is no suck connective force here. Woody Shaw is not Miles (nor does it seem that he's given that much to do anyway), Benny Maupin is not Wayne (and he gets in some good playing, but geez, take most any of his spots here, listen to what's going on underneath, and imagine what would be going on if Wayne was there instead(, and Hubert Laws is technically but (mostly) not temperamentally a good fit for what's going on here. So before too much longer, Corea and Holland would break from Miles, find Altschul, and then Braxton, and that's a whole 'nother story. But this music right here, mostly, as they say, "of historical interest", imo.

Waiting for the write-up to see why that Palmieri, and, to a lesser extent, why those Barbieris.

Would this music have had a reason to exist without it being commissioned for a soundtrack? I know, every music comes into existence because of some kind of an impetus, but I have a hard time imagining Bud Shank creating these pieces to play at Donte's or wherever. Of course. I'm probably wrong. No matter, everybody plays really well here. The rhythm trio is particularly locked in. Does anybody have a quick/ready list of all the recording that Gary Peacock di for PJ in particular, or out on the WC in general?

Good stuff.

Remember when Bravo had serious programs and no commercials? I liked Inside The Actors Studio a lot, especially once I realized that James Lipton was kinda "in on the joke" about some of the types of questions he would ask. RIP

Know Ra!

Indeed. But you know, "narrative" of the marketplace/ownership.etc. No narrative, no "truth" for the ma$$e$.

In record terms, no, because 33 1/3 + 45 = 78 1/3, not 78. But consider this: 7+8 =15 and 3+3+4+5=15 15+15=30 3+0=3 3 = https://en.wikipedia.org/wiki/3 Therefore: Q.E.D.

Best enjoyed in Full Screen mode.

See, I always dug the Thunderbirds (aka the Fabulous Thunderbirds) more than Stevie Ray, more than most any of those acts of that ilk. Those guys played as a band, and they always had a good, danceable pocket. No flash, no splash, just the good basic goods. If you got a good connection to the source, playing that stuff - good, danceable blues-based club music - is not particularly "hard". It's the people who gotta work too hard at it - and let it show - that I usually try to keep a distance from.

Roy Buchannan was semi-hot for a quick minute in the early-ish 70s. Had a downbeat article and a few albums on Polydor, as well as an appearance on Don Kirshner's Rock Concert (the one on ABC). I always felt that his playing reflected him not really being a singer (if he did sing to any note, I never heard it). Great player, obviously, just not something I could ever relate to. For me, the further any music gets from having a vocal (not lyrical, mind you, vocal) foundation, the dicier it gets. Especially a vernacular music like "blues". And yeah, he died pretty early. I guess substance abuse followed him most of his adult life. I played with an old guy in the early 2000s who had known him in DC and that was the story I got. Just a ginormous monkey on his back, one of those cases that seems like a person is just doomed no matter what. Very sad.

Too bad about that. Was not a fan, and did not know. Reading the previous responses after making mine, yeah, ok Quicksilver. Last time I knowingly heard that cut was no later than 1971, and by then I had already begun getting away from rock. Didn't do too much for me then, obviously does even less for me today. Still, too bad about that on a human level. On a musical level, though...breathe. Music needs to breathe. Even when it's non-stop WHEEEEE like on Track 7, you gotta give it shape, contour, perceived breathing points if not actual ones. This poor guy, RIP, just droned on and on.

John Hardee was at Skyline. First non-school band I was in had several of his former pupils. When his Savoy sides got a reissue in the 70s, they were kind of surprised, that wow, this guy really was who he told them about once being. In my hometown of Gladewater, Tx. The black school (yes, singular) had a white band director, but he was a working musician who had moved here from L.A. in the mid 1950s. In LA, he was a gigging jazz/cocktail/anything pianist, and when he got the Weldon gig, he appreciated the culture. So after a while, integration came, and this guy ends up beginners band, and soon enough, high school band. Lots of his Weldon students were in high school when I was, the same age or a little older, and this guy did everything he could to bring that tradition into the now "mainstream". In marching band, he truned the drummers over to his prize studnts from Weldon, and we soon had parade cadences like NO other. In stage/jazz band, same thing. Concert band, not so much, but solo/ensemble, we ahd a saxophone quartet with a 1st altoist who wasn't hearing any Marcel Mule, if you know what I mean. It raised eyebrows at the UIL contests, but we loved it. You can't overstate the importance of the African-American music educator in the days of segregation, and you also can't underestimate the impact that the music that was propagated in that environment had on those to whom it got exposed in the first waves of integration. I'm a living witness to that fact. I know for a fact that not all schools allowed the influence to flow as freely as it did in ours, but there. it flowed in abundance, so thank you Buzz Mezzner for doing the right thing for all of your students. Also, to this day, I'll advocate that the u-n/under-sung feeder of all the 70s funky horn bands was the HCBU marching band tradition.