JSngry

I knew it was Eric Alexander by the second solo chorus because it was so very competent and so very boring and so very almost sounding like George Coleman. I mean, the guy does what he does, always, readily identifiable, I think. If nothing else, kudos for that.

They are in pain. If it helps them heal, good for them. But for me, I hear no healing force of the universe. None. But if that's the object, healing, let them have it. And if it's not, I can not only deny, I can and do rebuke.

I put it in the car yesterday and expect to be through it by the time I get home from work today. Amazon is supposed to have it here today/tonight, so I'm just going to put it right back in the car and take up where I left off, more or less. Looking forward to hearing some life put into it, or more accurately, recovered from it. I know it's there...

Tell me about it, I knew him at NT when we were both at or under 23...oh well!

Exercise that choice, bro. Your consequences, not mine.

These are my two most favorite non-jazz driving records for weather clear, track fast, driver happy:

Quite the contrary, it's the solution to the problem! ONWARD!

Thanks, both of you. Just ordered the Off The Record set. A bit pricier than I was wanting to go, but I'm fed up with having to listen to this stuff sounding like this.

I try to post, but some months...you know...life happens. I do always try to check them all out for at least a cursory listening. There's not the traffic there once was, but it's still a fun activity, imo.

I'm thinking/hoping that there are now more lively transfers available in the general market place? Suggestions, anybody?

That was the last one.

Sorry, can't move a single post, just a thread. Feel free to repost and then delete.

It's about time.

Copy located, thank you!

https://jazzmf.com/jazz-magazine-1976-1980/

Will be a reasonable but generous (and/or vice-versa) for a fully intact copy in respectable (as in take home to meet the folks) condition. PM me here if you have such a one for sale. cf: https://jazzmf.com/jazz-magazine-volume-4/ Cityscape: Detroit By Gregory Jakub Why It’s So Hard to Find Jazz on the Radio By Charles Mitchell Jazz Alive! Helps in the Search By Ed Newton Insight: Young Fletcher Henderson By Margery P. Dews The Self-Renewing Sonny Rollins Interview by David Weiss; cover painting by Bob Delboy from a photography by Bruce W. Talamon Letters From the Editor Idle Threats By Tom Piazza Waxings By Bill Esposito Clues in the search for hard-to-get records Soundings By Charles Graham A jazz-lover’s audio and record-care guide Bookings Where major groups are playing nationally Rehearsal Bands By Bill Schremp Notes New York, by Ira Gitler Paris, by Michael Zwerin On the Recording Scene Los Angeles, by Harvey Siders Chicago, by Jerry DeMuth Notes from All Over Hiptionary, by Elliot Horne & Ian Dove Jazz on Radio and Television, by Mitchell Seidel & Peter Keepnews Aida Chapman: The Voice For Jazz in the Government, by Sid Cassese Western Regional Federation of Jazz Begins Taking Shape Jefferson Suspect is Acquitted, by Gregory Jakub African Resort With a Jazz Policy, by Ira Gitler Newport-New York Gets a New Sponsor Roundup of What Festivals Are Playing Books Stanley Baron: Benny, King Of Swing; Chris Goddard: Jazz Away From Home; by Richard M. Sudhalter Josef Skvorecky: The Bass Saxophone; by Bob Suter Sheldon Harris: Blues Who’s Who; by Ed Levine First Take: Sheila Jordan By Burt Korall Gallery: Backstage at the 1979 Playboy Jazz Festival Photos by Bruce Talamon Woodshed: Transcription and Analysis of Sonny Rollins’s solo on “Pent-Up House” By David Wild Reviews George Adams: Sound Suggestions; by Mitchell Feldman Count Basie: Basie Jam 3; by Terry Teachout Arthur Blythe: In The Tradition; Arthur Blythe: Metamorphosis; by Neil Tesser Dave Brubeck: Back Home; by James G. Shell Joe Farrell: Skateboard Park; by Peter Keepnews Stan Getz: Children Of The World; Stan Getz: Early Getz; by George Kanzler, Jr. Thad Jones & Mel Lewis: And UMO; Mel Lewis & The Jazz Orchestra: Naturally; by Sy Johnson Egberto Gismonti: Solo; by W. Patrick Hinely McCoy Tyner: Passion Dance; Stanley Cowell: Equipoise; by Walter Parker Jay Hoggard: Days Like These; Jay Hoggard: Solo Vibraphone; by David Jackson Michael Gregory Jackson: Heart & Center; by Bob Blumenthal Bob James & Earl Klugh: One On One; by Robert Henschen Cecil McBee: Alternate Spaces; Cecil McBee: Music From The Source; by W. Patrick Hinely Dave McKenna: Giant Strides; Dave McKenna: No Bass Hit; by Fred Bouchard Old And New Dreams; by James G. Shell Mary Lou Williams: My Mama Pinned A Rose On Me; Mary Lou Williams: Solo Recital; by George Kanzler, Jr. Miles Davis Re-evaluated, by Charles Mitchell [Miles In Tokyo; Miles In Berlin; At Plugged Nickel Volumes I & II; Black Beauty: Miles Davis At Fillmore West; Dark Magus; Pangaea; Circle In The Round] Hank Jones: Ain’t Misbehavin’; Clark Terry: Ain’t Misbehavin’; by Sy Johnson Richie Cole: Keeper Of The Flame; Red Rodney: Home Free; David Schnitter: Thundering; by Peter Keepnews The Vogue Label’s Legacy, by Dan Morgenstern [Clifford Brown: The Paris Collection; Roy Eldridge: Little Jazz; Johnny Hodges: The Rabbit In Paris; Django Reinhardt: The Versatile Giant; Zoot Sims: Brother In Swing; Mary Lou Williams: First Lady Of The Piano; J.J. Johnson & Milt Jackson: A Date In New York; Sidney Bechet & Martial Solal: When A Soprano Meets A Piano; Buck Clayton: Passport To Paradise; Dizzy Gillespie: Havin’ A Good Time In Paris] On The Record Thumbnail reviews by Randy Savicky Time Capsules Reviews of reissues Fragments By Vincent Pelote Answers to your jazz history questions

I subscribed from the beginning. The only issue I don't still have is the last one. It was a really good magazine, imo. With your historical bent, you would be rewarded by finding and then reading the entire run, cover-to-cover.

Seems like flat transfers, but the music is pretty fine.

I'm thinking that it's issued records, just deeper documentation.

IG Culture! NO SONGS!

Here's Afronaught spinning live for a little less than 30 minutes. If I could either sustain either a single creative arc or an act of dancing for that long, I'd be pretty damn happy. and then there's Mark de Clive-Lowe, who was able to do what to him comes naturally - with a freaking traditional big band!