JSngry

What about Brazilian Rules Nutterball?

Ah, ok. The Highland Parking garage was where we parked, kind catty-cornered to the SUB, less that a five minute walk even for an old guy, $2/hr, and yeah, you weren't getting into that without the whole gate/ticket thing. I had not actually ventured onto the campus since Quartet Out had a gig there, like 15+ years ago, SO much new construction. All the old stuff was still there, but it was swallowed up by a bunch of new stuff. I swear I could've gotten lost.... Don't pay that ticket, man, it's bullshit.

Rest easy, I didn't get this from Tommy. He only went up to Volume 5. Didn't learn about this one until getting those from him, went the eBay route, got a good (enough) deal. I'm sure there will be others.

Parking garage? Which one? How did you get in without going through a gate? That's nuts! Parking up there is a bear. There's less street parking now than ever, and the campus police are quite, uh...diligent in ticketing non-students parking in student-specific parking areas.

Another strong one.

My daughter and I were down on the second row, center. We left Plano at 4, had dinner on the square in Denton by 5-ish, hopped into Recycled for a quick minute (found a Norman Simmons record with Clifford Jordan for $8, seemed like a steal), and then moseyed on over to the campus. Got there in plenty time before they opened the doors to the Lyceum and we had our pick of seats. Leaving early was a luxury, but I've made the drive too many times to do anything else, especially now that ALL that "in-between space is developed...just too many damn cars for the existing highways. Traffic started getting thick on the outskirts of Denton a little before 5, and you know it only gets worse the later it gets. So, yeah, we left at 4 to make a 7:30 gig with what in theory should be a 1 hour drive. I also heard the Turner thing going on. Not my favorite either, but what made it interesting for me was how he was navigating those structures, odd/overlapping meters and asymmetrical harmonic sequences. I could only sort of pick up on the specifics, but definitely heard recurring base/pivot points. To be able to stay afloat, much less swim, in those waters...hey. And to my surprise, I really enjoyed his EWI playing, which put me in mind of prime Joe Zawinul, only in the context of those structures. Did not see that one coming! Berliner cracked me up a few times, she sometimes sounded like Lionel Hampton with her time and her arpeggiations. Lionel Hampton! Of course, that was just in spots. Too bad that whatever it was that malfunctioned malfunctioned. Nick Dunston was really on it. Him & Sorey were locked in. Certainly agree that the crowd was too small. Just keep in mind that the gig was not sponsored by the School Of Music in any of it's manifestations, although apparently the proposal for and submission to the fine arts Series was put together by this guy: https://music.unt.edu/faculty-and-staff/christopher-walker Current gig is Adminstrative Assistant for Jazz Studies, degree is in Composition, so he's sorta in No Man's Land as far as that goes. But he made this happen, so good for him. I just doubt that he had any real "institutional juice" behind him along the way, at any point. Ticket prices were already low, but I found out they were $5 for alumni. The test question was "what were the school's teams called in the 70?" which was DUH, Mean Green, of ocurse, THAT was easy),. And then they gave that price to my daughter for being the child of an alumni.

Really enjoyed the Sorey gig last night, in spite of Berliner appearing to have an equipment malfunction that took her out of commission for the last half hour or so of a more or less two hour, non-stop set. Don't know that any of the individuals in this band (other than Sorey) stand out as really distinctive individuals, but Sorey's compositions are such that just being able to navigate the structures with confidence and strength is more than enough for me. And Sorey himself was exhilarating, By the time the performance concluded, there were some unhappy-looking faces on the stage, possibly related to the aforementioned mallet malfunction, or maybe people just had to take a leak. I know I did! It seemed like either one long suite or just one long medley-set. There were recurring motifs and melodic fragments, so my guess would be for the former. But it was a long time for this bladder, especially considering that the gig started 15-20 minutes late and went about a half hour over the anticipated (announced?) end time. The band had us at a distinct disadvantage there, especially since I was on the front row and could not have left/returned with disrupting the very real zone that the music was creating. Also, the older, impatient part of me wonders if this type of music is presented at maximum benefit in one extended multiple hour unit like this. I do think this was either a formal suite or a constructed one made of existing individual pieces, since the players kept moving whole sections/pages of their parts backwards and forwards, but the individuals playing had not unlimited vocabularies, which resulted in moments of "oh, THIS again, eh?" which didn't last too long, mostly due to the compositions themselves and Sorey's drumming which simply does not allow for complacency or redundancy. Just saying, a little, uh...dedicated silence in between would not have necessarily detracted from anything. Still, those are minor quibbles. As I told my daughter afterwards when she used the "avant-garde" word, this is not "avant-garde jazz" not in the least. All the "jazz" elements involved here are long-standing vocabularies..But what's new and exciting is how Sorey is putting them together. This is very, very structured music, but the structures are there to be improvised over. This is nothing to do with "free jazz" and it has absolutely nothing to do with cyclical song-form based structures. Nor is it really cell based, like Cecil's music, or motif/intervallic like late Trane, it's way past that. It definitely shows awareness of both Roscoe's and Braxton's practices, but it is not even remotely imitative. One of my pet hangups/obsessions over the last 15 or so years is the realization (or seeming realization) that the only new ground left to be found in music as we know it is in form, structure, because there's nothing - nothing - new to be had anywhere else. So music like this, this is what I want to hear people doing. Not only this like this, but just putting the Tinker Toys together in ways they've not yet been put together and doing so in a way that a viable and vigorous functionality still shines through. Simply put, this is modern creative music that is both modern and creative! At the same time!. Sorey must have good people working for him to get him the higher profile "classical" gigs that he's getting, but he's delivering the goods. I'd go see him present again without hesitation.

10" Columbia. from 1949. Really, really charged performances, with a nice hot mastering to go with it. Whatever noise the record itself has taken on over the last 70 years is no match for that mastering!

Check out "You Go to My Head", wow: https://archive.org/details/78_over-the-rainbow_billy-eckstine-gillespie-coots_gbia0088366/05+-+You+Go+to+My+Head+-+Billy+Eckstine+-+Gillespie.flac#

It's a good record.

He played in Denton with the UNT 1:00 Lab Band last year.

The story behind the recording, from Amazon: https://www.amazon.com/gp/product/B07WHMR77K/ref=ppx_yo_dt_b_asin_title_o02_s00?ie=UTF8&psc=1 October 1, 1969, in Augusta, GA, was a homecoming for James Brown. His and his band's smoking performance at the city's Bell Auditorium was captured on tape, with an intention to make an album of the show the cornerstone of a move back to his roots. Live at Home With His Bad Self was scheduled as a lucrative holiday release. But JB and that band broke up. Soul Brother No. 1 called in a new, young band, featuring Bootsy Collins, and within a few weeks they recorded the funk anthem 'Sex Machine.' With the single flying up the charts and no album to promote along with it, JB scrapped the planned Live at Home album. He instead doubled down on a Sex Machine album, a part-live 2LP set that included a portion of the Augusta show. Now, finally, as James Brown intended: the full show with his celebrated '60s band. Live at Home With His Bad Self arrives on its 50th anniversary newly mixed with seven unreleased performances that even include two actual live instrumentals, 'Lowdown Popcorn' and 'Spinning Wheel,' that were on the original LP in studio recordings with fake applause. The package includes an essay by former James Brown tour manager and publicist Alan Leeds, a Grammy-winner who is also the co-producer of the album. Dusty Groove want you to know this: https://www.dustygroove.com/item/929874 A rare lost treasure from James Brown – the full, unedited version of a live concert that was cut up and butchered for the Sex Machine album – presented here for the first time ever, with a huge amount of never-issued tunes! Sex Machine was one of those "fake" concert albums from James – some original live recordings, other studio tracks tricked out – and put together in a way that never really made much sense. This set is something completely different altogether – a James Brown concert from start to finish, complete with some wickedly sharp patter from the stage – and long tunes that really show his group hitting on all burners! The lineup of musicians include three drummers at once – Clyde Stubblefield, Jabo Stars, and Melvin Parker – alongside Fred Wesley on trombone, Maceo Parker on alto, Jimmy Nolen on guitar, and Charles Sherrell on bass. James himself plays a bit of organ at instrumental moments – and tracks include the never-released "Lowdown Popcorn", "World", "Spinning Wheel", "Try Me", "I Got The Feelin/Lickin Stick Lickin Stick", and "Give It Up Or Turnit A Loos" – next to versions of "There Was A Time", "Say It Loud", "I Don't Want Nobody To Give Me Nothing", "Mother Popcorn", and "I Can't Stand Myself" Here, decide for yoursel: and the energy builds from there...

Hate to be snarky, but if you have to ask....

you might, possibly, make an exception for this one: http://www.emanemdisc.com/E4131.html

My mom played a C-Melody sax in high school and still had it in the attic. She let me play with it from time to time.. Plus, when the school had a demo night of all the instruments so you could decide which one you wanted to play, the guy demonstrating the saxophone had a lot of spit going through the horn, which to me at the time (4th grade) made it sound like an old record.

If you're going to look at Eddie Henderson from the 70s, you gotta get those Capricorn sides. I was lucky enough to buy the LPs back in the day (think I heard one of them playing loud in a record store and Patrick Gleeson did one of those....things. That did it, bought that record right there.). After that, the watering down got going and didn't stop. Really, play that shit loud. Play it loud. Play it very loud.

Ah, ok.

So there's an anthology of Eddie Henderson' BN material as well?

The BNs came after the Capricorns. They're good in points, but somewhat diluted overall.

Is that an anthology, or does it include both albums in full? Or is it both albums in full plus?

The phrase is "shit-stain stupid", and that's not at all kind. and let's not bring Trump into this, please. That's too easy. Trump himself is not really "Trumpian", that gives him WAY too much credit for originality and power of character. When Trump goes away, there will still be that, and at some point it will get pinned on somebody else, as if that demon-du-jour is the cause of all the current evil. Well, evil is timeless. Evil is eternal. Like they say, the classics never go out of style.

Get hold of the Eddie Henderson Capricorn sides so you don't have to depend on the BNs. The Capricorns are the real deal.