JSngry

Not at all familiar with this one...details, please?

Uncomfortable in a post-Cosby world...

What is that 30 minute track? The bus tapes, an extended drum solo, a really extended band cut, just what is it?

Sounds like it might be good reed but still just a teence stiff, so the saliva is going to break that down just a bit.

It's a compliation, and as such is very good dtuff!

Not such a great record, but Duke Pearson & Joe Henderson make it at least a discographical curiosity.

I got "months" out of a good reed up from the 70s until somewhere in the 90s. After that, a good-playing reed could last anywhere from months to weeks to days to hours to literally just minutes. Of course, most reed brands basically went to hell somewhere in the late-early 70s anyway. But - reeds will get persnickety about room temp, humidity, etc. I have had what was a perfectly good reed at home in the afternoon turn to total shit after going into a damp, overly air-conditioned club later in the evening. And depending on how you play with the reed, you can certainly have a reed "blow out" on you without warning. The more "correctly" you play, the less likely it is for that to happen. But the more "correctly" you play, the less you're going to get really intimate with your reed. A really good reed not only allows intimacy, it encourages it, begs for it, really.

Yeah, just go hip to that one within the last month. Really good stuff!

Up again, please. The "mystery" has yet to be solved?

That brown box has been orange for quite a while now...

Didn't some of this show up on Kimball)sp?)?

If it don't feel right, replace it. Simple as that. There's more involved than does it squeak or not. If there's any issue with a reed not responding just so, if a reed makes its presence felt in a way that distracts from the player's flow (physical or mental or creative), then that's a problem. Flow is the object of the game. The object. There's also the thing that you break a reed in, especially one that feels like it's going to be a keeper. You don't get all excited and ride it hard from jump, you treat it gentle and break it in, play it for a little bit, then take it off to recover and season. But I don't know that you'd do that on a gig. Reeds are temperamental. One that is playing great at 4:00 can change it's mind at 9:00. Or one that's playing great at 9:15 can decide to retire at 9:30. You never really know with reeds. You never really know.

I don't see anything "hard" about it at all. The facts speak for themselves. There is no argument, no debate to be had, just decisions that each consumer will make on a case-by-case basis. I do think that the Rollins/Gate thing is perhaps more odious than anything Boris Rose-related though. Those tapes were actually stolen property, stolen from whatever clueless idiots currently run what used to be RCA. It was a noble theft, no doubt, but people should be aware that the stolen material was being shared - for free - in certain collectors' circles before being brought to market, at which point the only value added was having the files burnt to CD and then by having some kind of paper/cardboard to put them in. Make no mistake - these are not noble enterprises, these Solar/Harkit/Etc outfits. Useful in a certain cheap kind of way for certain situations where laziness implores its demands to be met, but never noble.

Then of course our computers aged out software-wise and we had to get used to new ones and set three dozen new passwords. That was/is entirely preventable. Crashing, not necessarily. But "aging out", hell yeah. That's definitely preventable. The rest, maybe not so much.

Hey. look - it's Don Byas!

Not a joke. For realz! There's a live thing or two with it on as well.

Well, that was easy. Thanks!

Big Nick made two for IN. His latter-day playing might well be an "acquired taste", as he had developed a very personal intonation, and a vocal style to go with it. But I love it (and the records that showcase them), having heard him first on the Dizzy Salle Pleyel thing. His extended solo on "Ooo Pa Pa Dah" continues to fascinate, now more than ever. I can definitely here how he got there from here.

It's on YouTube, and I played a few cuts. It's solid, but I don't think a whole album of it is in the cards for me. Still and all, the Hodges vocabulary (both as a player and as a composer/bandleader) is wide and deep, and Watson does not trifle in his engagement with it. A very admirable undertaking, I should say. The only thing that wore on me was the rhythm section, they just didn't have the variety/nance/subtlety of their predecessors over an entire program. But really, that's to be expected. But as a BFT selection, yeah, that was a good'un!

I'd be good with just the Larkins stuff, of which I've only heard bits (and pieces). Is there a non-EuroPD set of this available somewhere?

Not really glad it disappeared, but not unhappy. It's just a sound, albeit a limited one. Check out Sonny Stitt using it on that live Left Bank thing, that's the perfect use of it. Let Don Patterson scream as loud as he wants to and you can still be on top of it. Momentum on top of momentum, Billy James working hard for his money! Lee Konitz used it to good effect also, believe it or not. He seemed to use it to obliterate the acoustic sound and to put out just the electric sound. For the way he played, that was interesting.

I think it's fine as is. We could call it "Ask The Musician" even though in context it would mean ask the musicians. It's a bit pompous, but it works, Similarly. "Musician's Form" refers to the body of musicians as a single collective entity. I get the "complaint", but seriously, roll with it, ok? This is the least of worries about pretty much anything.

How about five minutes? https://www.allmusic.com/album/the-year-of-the-rabbit-mw0000037130