JSngry

How are the waters muddied? That record company said ok (apparently), Chuck didn't. Seems pretty simple to me.

Advertising is generally defined in terms of a voluntarily directed act of promotion by the seller of a product using whatever methods/strategies/etc that said seller chooses. If you're trying to get laid and somebody steals your dick pics off your phone and puts them up all over the webbynets, I don't think that you'd consider that as "free advertising", even if it did get you laid, unless, you know, you're a total slut or something, in which case you're probably giving it away already. Sorry to be so blunt/crude, but the whole destruction/defilement of even the most basic forms of privacy by "social" media is not evolving well, and I damn sure don't expect it to end well.

Yeah, I thought that was a bit steep too. But it's a damn good record. I'd go up to 20 on it, maybe, if it was a clean copy. but DG says "Very Good", which in their secret language translates to me as there's gonna be noise on this record, so 15 tops for me. But I do wish them well and hope that it goes to a good home that will appreciate the groovy little micro-niche that it occupies. And still now - Whatever Happened To Jacy Parker????

Do a search for goddamn shame on Dusty Groove and you get one - only one - result: https://www.dustygroove.com/search.php?sf=goddamn+shame https://www.dustygroove.com/item/589921?kwfilter=Jacy+Parker&incl_oos=1&incl_cs=1&sort_order=artist The spotlight's on Jacy Parker, but the lady only seems to have cut this solitary album for Verve – which is a goddamn shame, because the record's so great! The album's a sweetly swinging set that features Jacy on both piano and vocals – working in a small combo with Ernie Royal on trumpet, Don Cinderella on bass, and either Roy James or Sticks Evans on drums – all in a fresh, almost playful sort of style that's quite different from straighter jazz or torch vocals of the time! Jacy's piano stylings are sometimes a bit bold, but her vocals are too – clearly that type of singing that helped her out in the small hours in the clubs – with a depth that recalls Chris Connor or June Christy at their mid 50s heights. The album's a wonderful lost treasure from Verve – a real breath of freshness at a time when the label was really losing their touch for vocalists – and titles include "Here Comes Trouble Again", "Guess Who I Saw Today", "Sweet William", "Long Gone Love", "But Beautiful", "You Mean Old World", and "You're The Cream In My Coffee".

Stopped at a Half Price after a haircut and found this, pretty good for 5 bucks!

yep

Dippin' is as good as it gets. A Caddy for Daddy is not far behind.

Had this one up the other day: Here's the local take, from last week: https://www.ajc.com/news/breaking-news/atlanta-blues-woman-enjoyed-late-resurgence/MAH7Znzff7LcbI2XbPwJGO/

Far from the most inspiring Bang On a Can record I've heard, although Caroline Shaw's making quilters musing about their craft into a creative manifesto that most any creative spirit can relate to is a very nice touch. Everything else is kinda "yeah, ok, heard it before" type stuff. Noise, math, repetitive cells bobbing and weaving, all the tools, just not a very exciting house. But that Caroline Shaw, she's cool.

Did not know about this one, ordered it. Lockjaw!

Apparently there was another band called "The Wrens" besides the doo-wop one...who knew? I'm thinking I'm not interested either way, right?

Is that A&M as in CTI A&M?

email sent on: 101 David Allyn - Dont Look Back . with Barry Harris (1 Left $13.00) 13 112 Harlem Odyssey. Billie Holiday, Jack Teagarden and Art Tatum (2 Left $13.00) 13 120 Bebop revisited Vol. 1 with Dextor Gordon and Fats Navarro 10 123 Harry Edison, Hot Lips Page - Sweet Lips & Lots of Jazz (2 Left $15.00) 15 124 Bebop Revisited Vol .2 with Dizzy and JJ Johnson(2 Left $13.00) 13 172 Bebop Revisited Vol. 3 with Tony Fruscela and Sam Most 10 175 Earl Coleman - Theres Something About an Old Love (1 Left $15.00) 15 186 Roy Eldridge at Jerry Newmans 10 197 Bebop Revisited Vol. 4 James Moody and bennie Green 10 199 Red Norvo - Time in His Hands with Slam Stewart 10 200 The Sonny Criss Memorial Album 10 203 Earl Hines - Varieties. Etta Jones and Helen Merrill 10 205 Bebop Revisited Volume 5 with Kenny Dorham and Conte Candoli 10

But did you ever like Charles Lloyd? Not everybody has.

I'm talking about shot-to-film stuff now looking like it was shot-to-video.

Exactly. Even if you surround yourself with "superior talent", a bandleader should still lead, set the tone and shape of a performance. Lloyd got to where he often sounded like a sideman in his own band, even on his own tunes. I very seriously doubt that Ron McClure taking over from Cecil McBee had anything to do with it. But chronologically, that's about when it started happening, at least based on the recordings I've heard. But a lot of times it sounded like The Keith Jarrett/Jack DeJohnette Quartet Present The Music Of Charles Lloyd.

How did they get it from there to there?

This one is from right around the time when (based on what I've heard of the band, records and boots) Lloyd started being the least inspired player in his own band. Hopefully it's not gonna be like that. I will wait for others to report back before pulling any triggers.

Like I've said, I actually like it on some things, and really did think it was some next-gen remastering for 3D or something thing. But since it's not, and since they're doing it without telling anybody, and since the musical equivalent would be something like getting the Ellington Blanton/Webster band stuff in Surround sound and not being told about it, then no, don't do that. Can't stress enough, though, how cool it is to watch Mason & Burger like they're live on video in a real courtroom. So they're a use here. But you don't just make people use it without telling them what's happening, AND not telling them how to opt out of it.

Are these some of the same broadcasts as are on the Madhattan Room set? I liked that one pretty good!

otoh, Ann Landers/Dear Abby would have sufficed, so although ambition is to be applauded, going looking for extraneous drama from completely irrelevant sources is damn near always a red flag. However fortunate it is that she got away from you, it's probably just as fortunate that you got away from her. Or you could have stayed together and ended up on Sally Jesse or Murray or Springer, there's always that.

Exactly. And for the truth(s) of Max Roach to be distorted is to distort the truth(s) of jazz. Not that anybody's ever gone broke doing that...

Look at these Max records on Baystate: https://www.discogs.com/search/?q=max+roach+baystate&type=all Billy Harper had one: https://www.discogs.com/search/?q=billy+harper+baystate&type=all Another Max/Billy from Japan: https://www.discogs.com/Max-Roach-Quartet-Nommo/release/1919200 Of course, Billy on Denon (there were three, actually, a fact which had eluded me until not that many years ago, Love On The Sudan was not in the shops here like the two later ones were, I guess because it wasn't PCM'ed) Just saying, that whole Max/Billy band left a legacy, if not in breadth or repertoire, then definitely in intensity of performances. One of the strongest bands Max ever had, imo, even with Cecil Bridgewater not really being anything scorching himself. He didn't need to ba. Although, imagining that band with Hannibal in the trumpet chair...oh well about that. And still - no representation in the general marketplace, which is a crime of sorts, really, so distorting of history that absence is. The Soul Note records were different types of records, quite by intent. I DID see Max's band (at Carnegie Hall, of all places) shortly after Odean joined, and it was quite intense. But Max apparently decided not to make records like that any more, after Billy left, something about making them more "listener friendly" by having shorter tracks and more tunes per record. Whatever... I wish somebody would do a legit set of this part of Max's career. Most people still don't know, and time's a'-wastin'. Chattahoochie Red (how many people today would even know what that title was about?) was a thing that Max leased to Columbia because of his friendship/trust/respect/whatever of/with Bruce Lundvall. Columbia also reissued We Insist on the same type deal, a lease. And Max kept an association with Lundvall as he moved to Electra/Musician, and then to Blue Note. Apparently, Max could be "difficult" to do business with. Oh well about that too. The records still got made. Now they need to be saved, if only so they don't get forgotten completely.