JSngry

I seem to recall that George Wein kept the band name going for a while after original members left? For a year or so?

That type of Ellington set would be welcome here as well.

87 is a real number. Congratulations!

Don't hold me to this, but wasn't it suspected that Lee did not actually play on that b-side?

My limited experience with Movie Mars puts me in the 6%. I ordered mine through Amazon Seller avatarmusic. Not the cheapest price (nor the highest), but the highest rating. Excellent service, no complaints. Actually arrived almost a week ahead of ETA! But they appear to no longer offer the item. Probably one of the carpe diem things. If you want it, get it now.

Surround sound and holograms!

Wayne during these years was like Elliot Carter. Or somebody, I don't know. Just lightening fast (or faster) motivic development in the service of a looooong developmental arc. To do this in an improvisational setting (and comparing all the Lost Quintet performances, the improvisational element is quite well-revealed), is a glorious triumph of some of the human potentials,

I have unconditional love for Earl Coleman, but I would hesitate to recommend this record to somebody who didn't. His pitch is at times really wobbly, and the record is actually a program of Coleman vocal tracks alternating with Ted Dunbar solo tracks. That programming decision is nowhere explained in the notes (and isn't even hinted at on the cover) and one is left wondering if Coleman was in bad voice that day and Don Schlitten called the session (NP: Don Schlitten - Callin' the Session!!!) and called on Dunbar to make it a record. I'd think f it had been an actual concept that it would have been pimped as such. But still - I have unconditional love for Earl Coleman. No matter where the notes land, the words always come out in the right place and in the right way.

So, what they call a "Weekend Pass" also covers Thursday events?

I'm too old and too collected to get excited about this Morgan thing. Hopefully there's millions of others who aren't.

Forget about OKC, take the path of US-75 which at one point ran non-stop from Canada all the way down to the Gulf Of Mexico: https://en.wikipedia.org/wiki/U.S._Route_75 Secure those borders!!!!!

Try going north on US-75 instead of I-35 and check out Chocktaw, in Durant. Here's what you can see there: https://durantboxoffice.com/?msclkid=3c09bd45b71211319916e093790dd2c8&utm_source=bing&utm_medium=cpc&utm_campaign=Choctaw%20Casino%20Resort%20CQT-B&utm_term=%2Bdurant%20ok%20%2Bchoctaw%20%2Bcasino&utm_content=Choctaw%20Casino%20Resort But no matter where you are in Oklahoma, you're OK for a Choctaw Experience: https://www.choctawcasinos.com/locations/ But Winstar, that's where you can go see Seinfeld do stand up (which is maybe one of my bucket list things?): https://hyloseats.com/venue/winstar-world-casino-tickets Not also Trevor Noah!

Not only do they come from the UK, they actually are delivered to American residential mailboxes. I'm a living witness!

Drew Carey is no Bob Barker. just as Gary Busey is no Jean Tripplehorn.

I strongly urge VSOPphiles to check this one out: https://www.discogs.com/The-VSOP-Quintet-Five-Stars/release/6130818 not released outside of Japan until 2014 (but released there in 1979!). No electronics, but otherwise a lot more "contemporary" (i.e.: less intentionally "retro") in terms of compositions and performances...everything, actually. IMO the "hottest" of the VSOP records.

If by "similar", you mean doomed to be a disastrous failure, I'd say your chances were better than excellent! Our Texanic Neighbor To The North, Our Panhandellic Partner, Our Crude Oil Companions, they just have all kinds of interesting things in their history!

https://www.smithsonianmag.com/history/socialist-revolution-oklahoma-crushed-green-corn-rebellion-180973073/ Smithsonian Magazine is a good read. We subscribe, and not just because we enjoy the torrential outpouring of hourly renewal offers pouring into our mailbox.

Happy Girthday Happy Birthday To You Happy Birthday Dear BillF

And yet, this one (and the one after it, the last two on the album)) is ON! Although, yes, mix still off. But, it seems to improve on the fly. The playing, though, is full frontal burn all the way. I'd like to know what the recording order was, both to trace the evolution of the playing and of the mixing.

Is that all of them?

I think the mix is inconsistent, and maybe in a few cases the performances sound rushed or otherwise not totally relaxed. I get that this was not going to be a really stretched out date, but the last two cuts are just ZONED, whereas a few of the others sound like maybe another take wouldn't have hurt, to maybe get a better flow. Then again, time/place/budget/etc. Not complaining, mind you, just observing. This is not a typical Black & Blue date to begin with anyway, and I'm glad they made it, period.

I do like it (I mean, what's not to like?), but I also feel that this label was perhaps not really equipped to give this record the best production it could have had, maybe?

It is.