JSngry

Max Roach in Amsterdam was on Baystate, correct? That's another amazing body of work, his Baystate output. Between Denon & Baystate, Max Roach and Max Roach-assocated records tell a story that has yet to be fully heard by the general market.

I don't have the time to let that happen now, but it certainly has before...one time with Duke it lasted for about six weeks, NOTHING but Ellington all day and all night and entailed not only listening to what I already had, but making runs to the records stores every few day to pick up a new thing or two. I've had it happen with other artists too, the extended lock-out of anything but their work, but it has happened more times and for longer durations with Duke than with anybody else. There's so much there, and it's all, at the very least, pretty damn good.

Yeah, post a list, please. I give up on any coherent CD program any time soon.

They're all good (or better!)! The one that caught me off guard the most was The Easy Way, the tenor playing there sounded like it was opening up. The album with Konitz is a must, if only just for Warne.

One of the more perfectly triangulated rhythm sections on record.

Seamless silences.

Where he be?

Pity that him and Bill Evans never got to make a record together. RIP.

I'm a Gould Guy for piano

Listened to it this evening. I felt like I felt when I hear The Beatles Christmas Records for the first time, like, yeah, it's those guys all right, being themselves...but although still The Beatles, nor really "Beatles records". And yet, very (and thoroughly) enjoyable precisely because of that. Three things stand out for me (and three there will be, look, numbers!): This was certainly a very casual session. Not a lot of pre-planning (maybe none?), not a lot of budget, obviously, just everybody show up at Rudy's, decide on tunes, get levels, and give the money guy what he needs (shades of Prestige!). So it's a little startling to hear Coltrane so casually throw out some of this really advanced harmonic shit, like, you know, even when he wasn't looking for the mountaintop, this is where his head was at, no turning back, a truly evolved mind in that way. Whoever cleaned the tapes up did a good job, but there's no hiding the fact that, however they started out, they were in pretty rough shape by the time this project got going. Oh well! Elvin on the 2nd take of "Naima" is just stone cold motherfucking NUTS. I've never heard anything like that before, from anybody. I see that this was recorded "at" Rudy's studio, and the legends of Rudy not letting anybody touch his stuff is no doubt a true fact, but...can I be forgiven for thinking that either Rudy was not behind the knows for some/all of this? Or maybe just that everybody knew what kind of a deal it was going in, both time and money were tight, so, you know, just get something down...or maybe it's just that the tapes were old and whoever had them had played them a lot over the years? Now - when do we get an official CD of The Beatles Christmas Records?

His presence here was always vital, energetic, very much alive and present. I can only imagine what it must have been in the real world. Surely, a mark has been made with this life.

It (Bach) does "all sound alike" at first (or for a while, or forever), but that's ok, because from a distance any and all ____s ____ alike, right? That's what distance is for, to keep us from becoming totally immediately disoriented until we can move in a little closer. Survival skill, coping mechanism whatever. If nothing ever ____ed alike, how the hell would we know where who/we as individuals are? And Bach, in all kinds of ways, has distance built into it. But distance is just from where things begin once we get there. Try this, and play, like one disc a week, a month, or something like that. Just a little at a time, because, you know, he didn't write all this music in a few minutes, so should it really be listened to like that? I like to let it impact, and then to absorb that impact. With her, she knows where the shapes are to be had to make it NOT all sound alike, so that the closer you get, the better you can see the details. And then, like anything else, the details are what either pull you in or repel you further away. THAT part is your business. Or you could go off the deep end and come to Bach through Glen Gould. That's what I did, and I tell you, it's been great! Either way, beware the genteel and/or subservient touch when it comes to Bach. It is not your friend here (if anywhere). He knew what he was doing.

Originally from 1976 (recording date), 1977 release date. Vivid, VIVID flashbacks here, not to the record, but to a time when it looked like Woody Shaw-type music was about to really take over the mainstreamjazzworld. I have very fond memories of that time, of a certain sense of inevitability and triumph, so I do not mind the flashbackiness. but I was a bit shocked at how vivid THIS record, which I don't think I had heard before today, brought them on. The playing is not necessarily "finished", but there's a spirit of immediacy, "hunger" even that still comes though. Maybe it's one of those "you had to be there" things, and even if you were there you had to like it then to like it now. Probably so. But I meet those criteria, so... Having said all that...Cecil Bridgewater? Really? At least...Charles Sullivan? Other than that, though, flashbacks.

Perry Mason looks like it was shot live to video, not film. It's unsettling (at first), probably even "wrong"...but I like it as a shock to the system. At first I thought it was some "digitally remastered for 3D" thing. Not until this article did I realize otherwise. But check it out on older animation, that's where it gets really weird...and fun...

https://www.vulture.com/2019/07/motion-smoothing-is-ruining-cinema.html We have two TVs, one less than a year old, one about five years old. The older one does not have motion smoothing, the new one does. We tend to watch anything "movie"-ish on the one that doesn't,, just because it's in the bedroom and a bed beat a recliner, mostly. But on the new one, when we watch, like old TV shows or cartoons, I thought, wow, this has all been digitally remastered for HD, and Popeye looks 3D, WOW! They got Perry Mason looking like LIVE TV!!!! And I'm thinking, ok, different, extreme, maybe, but it's a new way of looking at old stuff. Only, I guess it's wrong? For classic films and stuff, yeah, I get the outrage, and seeing the analogy to recorded musics, yeah, the desire to keep the original/basic sensory paradigm is important to me. But otoh, hey, Betty Boop in quasi-3D is fun. Seeing Hamilton Burger get that "oh shit, I'm fucked AGAIN" look like it was live on Playhouse 90 or something is a hoot. Etc. So, you guys, have you noticed the effect of this, and if so, does it bug you? It says you can turn it off, but I'm not sure I want to right now.

I wish it was that simple...in our case it was a slab leak. Great way to spend a week or two...or three...will know eventually, I'm sure.

Another sweeeeet B&B disc.

Outstanding! When we talk of the great individualists of jazz, do we often, or ever, include Milt Buckner in the discussion? Or of the great musical humorists? I think we should, on both (any!) counts - Milt Buckner was a baaaaaaaaaaaaaaad man!

"Expected" without being "redundant". A nice record.

CT - PM

Pretty sure he was with Burrell's group when I saw him at La Bastille (RIP) in Houston, summer of 1974.

They are, and it will be a while before I get through all of them, but yes, watch this space if you're so inclined.

Sergio Mendes.

Most things that go platinum are considered a hit?