JSngry

OTOH, I used to think that Joanne Brackeen always sounded/played like she needed to pee, like, right NOW. But I'd also think that she was pro enough to have already scoped out where the bathroom was in any place she played. Pros just do that.

Why would you need to?

Right. And the notion of music as an actual language, a means of literal (but non-verbal) communication, no way that's trivial either! Notes are just the building blocks of a very complex and comprehensive language. Verbal language is actually too often crude in comparison.

That's a damn good record.

Spurred on by the inclusion of "Sister Sadie" in Dan Gould's current BFT. This is a really good band, and a pretty damn good record, with Pauls Gonsalves & Quinichette aboard (although not at the same time). But the real treat for me is the section work here, the blends and colors that was once everywhere and today seems to be nowhere. I've heard the same thing about the "French Orchestra sound", but can't speak to that. This, I think I can speak to. Technology changes, society changes playing changes to meet the technological and societal changes, and so it goes, colors change, concepts of sound change...nothing's "right" or "wrong", just different. And me myself, this era/style of section playing is really, really satisfying. How many people playing in big bands today have actual, extended experience playing in any kind of a dance band, never mind an unamplified one?

Watched an episode of Route 66 last night, and an obviously horny Buzz is flirting with an obviously horny woman (and vice versa) on some sky ride in New Mexico where he's working. She asks him what his name is and he says "Buzz", to which she coyly replies, "Buzz? Is that a name or a high frequency?", to which Buzz, of course, equally coyly replies, "Why don't you find out?", after which they agree to "dinner" and then the story moves one. High Frequency George Maharas, y'all. One of the great actors of our time.

I really wouldn't mind hearing all the music, just not to the degree of that price and those "extras" of the packaging. The original record holds up really well, imo, perhaps better than a lot of Zappa's output. And Sugar Cane Harris was indeed a significant addition. But...too rich for my blood, I mean, a board game?

The thing that most makes me smile about this gig is a bit trivial (or not, maybe!) - the gig was Wayne's last with the band, and it was on a Saturday. With that in mind,, note that Wayne takes great pains to, at one point, quote "Never On Sunday" to some great length. Language!

I'm usually good at maintaining a healthy but workable distance with people I find unpleasant in real life. there's a few that have irrevocably crossed one line or another that I just "cancelled" (is that how the kids say it?) but it's like, less than five, I think. I just turned 64, so that's a pretty good ratio, I think. But a movie is not real life. In real life, sometimes dealing with shit is just the cost of doing business. But engaging in a movie is a voluntary act, period. Besides, "Whiplash"...it's a fucking Hank Levy chart for crissakes, not even worth the musical curiosity. if you want to go to a movie to hear a non-Don Ellis penned don ellis chart, wait for somebody to put THIS in a movie:

We are Farmers... All I know is that I saw a YouTube clip where this asshole is dogging this kid, not to get him to play better, but to break him down and have his mental way with him, and then he wasn't quite getting his way so he just up and slapped the kid, and that was it for me, I said, no, this is just a movie, I have a choice whether or not I want to see more of this, and my choice is no, I don't, so no, I won't. I don't want to see a movie where a priest character graphically fondles a kid, and I don't want to see one where a physiologically predatory band director slaps a kid. Call me old-fashioned, I guess.

re: Harris & McCann - both were primed for this kind of marketplace synergy, having both had pretty good R&B Chart hits, Harris in 1968 with "Listen Here" & McCann with "With These Hands". in 1967, both on Atlantic. Atlantic and Joel Dorn were doing quite well in those days in finding both their core audience and people outside that core but close enough to come in and see what was going on. They definitely had a "thing".

Very true. That record was a huge hit, with a lot of crossover appeal (I figured that out when I showed up to college my freshman year and met people who didn't know anything else about jazz, but they knew that record).. Of course, the "hit" was "Compared to What", which made it problematic for a lot of radio stations (there were "beeped" versions that got played on the stations in this area). Also, what radio play it did get was on Black and/or Underground Radio, so if you weren't tuned in to (pun almost unavoidable, sorry) that scene, you'd have no idea what was going on with that record. "Cold Duck Time" was also pretty popular, especially as a live/club tune. I was still playing it well into the 1990s. So yeah, a monster hit record.

Perfect world scenario = class action lawsuit against the most egregious importer of these things, filed with the backing os one or two billionaire "jazz fans". Argue the case really well, win it, set precedent, and then have a big stick to wave when threatening forth litigation against further importers. I mean, I see all kinds of ways for that to never even begin to happen, but... It seems though, that if the violation is in the importing itself, then whatever crime there would be at the retail level would be in obtaining these things, not necessarily in actually selling them? But if I buy one from Amazon.fr where it is legal, am I then "importing" it? And if I then sell it, how would that be different from selling any other personal property? And since corporations are now people... It seems that the law not only has no teeth, it also has no gums in which to hold them. And it also seems that the law is not interested in having teeth, just in letting predators eat all they want.

That's weird, because he produced all but one of those Prestige records himself except one. He moved from Milestone to Prestige but still kept working with Orrin Kepnews. They had a run of, what, six years? Still not sure why the label changed away from Milestone, it was the same company by then. Not saying he didn't get screwed, but I wonder what happened there, exactly?

My personal/sentimental "70s Ammons" record (as opposed to an Ammons record recorded in the 70s is My Way. That thing is epic. And it got played on the all-night Fort Worth jazz radio show in some form or fashion every night!

Lucid and succinct writing.

Austin is still weeping in the wake of your departure!

That's part of my question - where is the copyright infringement in a retailer selling something that is legal in the point of origin (and was presumably originally purchased there)? "Where is" meaning simply the explicit statute? Or is this open to interpretation? Yeah, that's what I'm wondering about.

Didn't read the whole article, but does it specifically state that it is illegal to import (or even sell) these items in the US? I'm still not sure that it was ever actually illegal to do so. "Illegal" sure, but I think anybody would have a hard time winning that one if push came to shove? Maybe Brad or somebody else with the legal chops to do so can cite precedent for this? Or even better, explicit legislation? Just want to know the real facts about this, not American/industry spin.

Oh, I get it, totally, especially the Montreux thing, doesn't really come all the way alive until Cannonball pops in, and that's not until the end. I'm down with Goodbye in a big way though...it's just fierce, no matter what the circumstances were. But, yeah, knowing that it's the end, that's a real thing. Do you know the Enja thing? Not the best recording, but if you like/love Jug...

That Gene Ammons choice is stealth! I don't think that any of it came out at all until 1985, and then on LP for just a very quick minute. After that, just the pieces added to OJC CDs mentioned in the article. But it's a great record. For 70s Prestige Ammons actually released in the 70s, that go into that "straight ahead" bag and stay there, there's the sadly/appropriately titled Goodbye, as well as Gene Ammons and Friends at Montreux. But none of them have Wynton Kelly...

Not even in the abstract.

What kind of law needs to happen so we can hear "Rhapsody In Blue" less regularly, like, never?

I still haven't seen the movie, might never do so, but I started listening to Buddy Rich records again (in smallish doses). That's been more fun than it used to be. But I ain't gonna push my luck, if you know what I mean.

Yeah, well, ok then, let me get to work on fixing my entire gender. I got time for that, sure. In the meantime, everybody else just carry on!