JSngry

So that would be Roy Eldridge then? If so, that one squeezed-off note was the tell. Most truly individual voices have one, somewhere!

And remember - it's vibrations from an external source that triggers all of this, and not necessarily just in our little ear hairs!

Maybe it seems to sound "better" because you're hearing all the attacks of all the notes instead of starting in the jumble of already attacked pitches.. Not hearing the attack of a note is a weird thing to happen to your ears/mind. It's how you immediately know what instrument is playing. Without an attack, the timbre of an instrument can linger in ambiguity for a surprisingly long time. So it's no mystery why, and it really doesn't sound "better" in any meaningful audiowonkystat way. It's just basic acoustical science.

Sounds like it could be a proto-CTI approach, in concept at least. Play first, arrange the backing ensemble later.

Oh my...I watched in awe as he was given total control over the NTSU 1:00 band, something that had never happened before, or has ever happened since. He got the best out of that band, worked them like hell (open rehearsals every day, except for the two weeks leading up to the recording). Past that, he'd play trio gigs in the evening here and there that were fully-formed (or so they seemed at the time). Synths were liberating for him, too. I remember somewhere early on, maybe after he came off the road with Herman, somebody asked him why he wasn't writing more big band charts and he said something like it's too hard to get people to play them right. Observing how he had to bend the 1:00 to his will (and not in a mean way, mind you), how much work that was, that made sense. He was not, it seemed, a guy who really had to work to "find his voice", though. It seemed like it was always there, and the question was not how to find it, but how to grow it. And the answer, then and later, was to just get out of his way and let him go do his thing, Can't say I've "loved" everything he's done, but damn, have I respected him. This is a loss to music in general, this type of talent, this type of skill set, this type of vision. RIP

Yeah, let's go after the low hanging fruit of a cheating baseball team and ignore the bigger implications, not of what they did, but how they did it (and please, avoid the extra low hanging fruit for the whole banging on a trash can thing). In the real world, the insatiable huger for data and analytics is bringing us this guy: https://www.cnn.com/2020/02/10/tech/clearview-ai-ceo-hoan-ton-that/index.html A sports team looking for an edge by any available means (which for the last several post-steroid decades has meant organizational data and analytics)...next thing you know we'll be hearing about a dishonest politician... Catch 'em when you can! By far the biggest tragedy of all this is that the phrase "bang on a can" has been sullied, and considering that prior to this it stood for excellence in every regard, that is a sad thing indeed. HERE'S your Bang On A Can, sports fans! https://bangonacan.org/store/music

I'd be interested in knowing what mastering/mix this version is. Like I said, it's pretty different from the one I've known. I even thought for the first few seconds it might have been a totally different version, maybe even a remix. He squeezed one note off that reminded me very much of Roy Eldridge, but I've never heard Roy sound this Louis-y. Maybe Red Allen? or Lips Page?

I wish he was alive to tell the story... At least it wasn't The Dreaded Giboon Viper.

I liked them battery commercials.

Dave Lambert concurs, no doubt.

Now Appearing at Rudy's Club Jaqueshammer: The Nondescript Cassette Players. No cover, no minimum, ladies drink free before 9 PM.

I'm afraid that most "casual" jazz fans would only know who Jimmy Cobb is would be if you told them that he was the drummer on Kind Of Blue. And even then, probably nothing past that. Not saying that Ol' Cap here is such a person, but for people who don't get all the way into the music that Cobb has played over the years, the name probably means little, if anything. That's probably part of why Cuscuna spelt it out in the detail that he did.

To that end (and SERIOUSLY NSFW):

Rubber Came Out

The Hefty Marantzes

Are you European or UK?

Three Sheets Of Rubber

Well, good. Enjoy the rightness. Virtue signal received, loud and clear. In the meantime, privacy has not existed for a decade or two now, we get our data collected and analyzed pretty much every time we wake up (and maybe before that, some of us), satellite micro-surveillance continues to be refined. Nobody collects data just for the hell of it. Nobody. And since data gives the allure of being morally neutral (hey, it's jsut data, it's jusrt aggreate, it's just meta, etcetcetc), a data-driven culture certainly follows suit. It's a trap of course, but damn near all of us are ensnared in it to one degree or another, most of us quite willingly, too. A baseball team found a way to put this to use to cheat. So since about the most serious conversation anybody can have these days is emoistic teardrops about hi-profile public "bad guys", lets strip the Astros of their title, pelt them with rocks and bottles, and let the rest of the world know that we won't STAND for this type of thing!!!!! And let's this all on our phones, on Facebook and Twitter and all that stuff. That'll make the world a better place for you and me!!!

Oh, Tommy Pham took to social media to decry illicit data collection and the application of same. One of those Gene Wilder/Willie Wonka memes about that.

https://www.latimes.com/world-nation/story/2020-02-08/actor-comedian-orson-bean-91-hit-and-killed-by-car-in-la Too bad. I tended to quite enjoy his wit, if not always his acting.

I have those on LP!

Wake up sports fans, wake up everybody, data and algorithms are driving everything these days. Everything. And there are no rules against it. It's just "good business". It's cheating in MLB because there's a rule against it. But it's not against the rules in everyday life, where your "signs" are constantly being stolen to drive you into routes of commerce, socialization, and ideology. What the Astros did was essentially a gamer version of what is happening in real life. You as an individual are no more protected against being pwned by all this than were the Astros' opponents. If anything, you are exponentially less protected. It's easy to get indignant about a mere sports team doing this, but it's even more easy to let it stop there rather than confront just how unprotected from this stuff we ourselves are damn near every waking moment. Data, analytics, and algorithms. They're here to stay, and they got you - us - by the (base)balls.

Ok, what have we got here? TRACK ONE - Sounds like people trying to find a little more gas in that late-60s "inside/out" bag and mostly succeeding at least well enough for now. Not a lot of heat (hot or cold), but for one cut, no worries. Alto/valve trombone front line and two basses (?), it almost sounds like a Chico Hamilton record, believe it or not...except for the drumming. HA! Don't think I'd like a whole record of this, I'd like a little more...something. But I was happy to listen to it all the way through, which is not always the case. TRACK TWO - Well, yeah, there it is, that one. IIRC, Dolphy started on clarinet, as was the norm for any well-trained young aspiring saxophonist back then. His voice comes thorugh clearly. Hearing Carter on cello here...maybe there was a cello alongside the bassist on Track One, or maybe I was just hearing things. TRACK THREE - CHOO CHOO!!! That sucker got a pocket! If that's not Louis, it's not for a lack of trying. Just listen to that bass and guitar hookup (and no drummer?), that's doing it. Waiting for the revel on this one, TRACK FOUR - "Little Girl Blue" all gussied up with some nice fancy chords. I like those chords, but not really sure about what's going on top of them. If I was in one mood, I would like this a lot. Another mood, maybe not so much. But this ain't trifling in the least, so fullest props, with or without any accompanying affection. Either way, I do like that the pianist is aware of the lyrics, the full story, and is dealing with that. Never a bad idea, that, imo. TRACK FIVE - That song sounds familiar...whether it actually is or not, that's another question. But I think it is, so why can't I think of the title? Because I'm getting old? Or maybe it's not familiar and they're just totally co-opted something to make it sound familiar and therefore easily digestible? That trumpet player has me wishing that it was Lester Bowie instead.The trombone player has me wishing it was Ray Anderson (and maybe it is, so make that a younger Ray Anderson). Ultiamtely, though, the whole thing has me wishing I could remember the name of the damn song. TRACK SIX - Oh, that's an easy one! Andrew Hill, "Illusion". First hear it on the old LT One For One and got sucked into it for life. Guess i wasn't the only one, it's been sampled more than once (or so I'm told).. This version, though, is mixed differently than the one I imprinted on, it's brighter and rebalance the instruments a little not somehow. I'll remember what I remember how I remember it, thanks, but geez, this is just genius all over the place. All over the place. And hey - Benny Maupin. TRACK SEVEN - VERY George Russel-y. But not him, i don't think. Sounds like something with Giuffre, definitely him. Other than that, no idea. Trumept not on that level. Drums, definitely playing the concept, and playing it well. I like it pretty well, might want to grab the record at some point sooner rather than later. TRACK EIGHT - Hmmmm...that's another tune that sounds familiar, but not as a pop song like #5 did. I hear the voicings and harmonies, but the energy of the vibe seems a little different than the techniques of the writing, if that makes any sense. Seems like the band should have a little more....bite? Phil Woods? Or Gary Foster? That I'm torn between those two as staring points suggests to me that it's neither, and maybe that explains about the band. It's not that they're not speaking clearly, it's just that I don't really understand their intent as well as they no doubt do. This might be one of those things where a full album's worth would be beneficial. TRACK NINE - Well hell, that's another one that sounds familiar, but I'm pretty sure it's nothing that's actually specifically familiar. Jonne Brackeen kinda played like this back in the day, maybe? That funkysloppyslappy vibe mixed in with some badass chops. But there's a little bit of arbitrariness to the phraseology that is a little off-putting, the phrases don't necessarily maintain relevance to each other. Each one is fine in itself, but they could be reassembled in any order and you'd still have the same record. If this is Brackeen, it could be from Keying In, Gomez & DeJohnette. But don't hold me to that, please. TRACK TEN - Ok, Jazz - stop starting tunes with bass vamps. Just stop it.At least until you can get to the point where you don't know right away what the whole damn record is going to sound like after that vamp gets laid down. It was fun while it lasted (and it lasted a good while), but give it a rest for a while, ok? Nothing wrong here, but...it could be anybody of a certain set of anybodys. TRACK ELEVEN - Not Special Edition, at least not something I remember, certainly not ECM, but, yeah, that was nice. Short, distinctive, and to the point, could have been a 78 in that regard. Yeah! TRACK TWELVE - Almost seems that the attack was almost missing from the first note, so all it was was a vibrating wire, like hello, piano, right? But that lasted just a split-second, and now here's some guitar. Again a trumpeter who makes me wish it was Lester Bowie. I miss Lester Bowie. David Bowie too, albeit to a far lesser extent. Jim Bowie? Never knew the man, just his knife, for which I have yet to have a use. Is this a Jim Bowie record? TRACK THIRTEEN - Liking this more than I thought i was going to judging from the intro. Muhal? A little (a lot, actually, as it turns out) thought about an overall structure (in both the piece and in the soloing), always welcome! This is a good record, organic and evolved at the same time. More of this in every area of life, please...you saved the best for last! Well, I didn't guess for shit, but I had fun. Thanks!

Or in America at all, really. The whole "taxation is theft" thing runs deep - and across party lines, really, at least until most of us Bommers are dead. I just hope that the X-ers anx Millenials, etc end up being the equivalent of Yuppies like the "hip"pies did. If they don't, then maybe the mass consciousness can shift away from viewing a consensual collective approach to anything as being something that, by gosh, might actually be even potentially helpful for the individual instead of an insidious attempt to enslave them to some vague boogeyman "government". Then (and only then) will we be able to have an objective discussion about the realities rahter then the emo meltdowns about "philosophy" and "moralitiy" that inevitably arise (from all sides) whenever money comes into play in America. But hey - I ain't gonna live that long. And even if I did, we both know that today's idealists are tomorrows pigs (or aspiring pigs) waaaay more often than not. I would never give up my personal responsibility. I would, however, more than gladly redirect it towards contributing to a significantly more efficient and effective healthcare system, no matter what form that takes.