JSngry

Basic point, I guess, is that even if this quartet reunited and hit on all cylinders, there wouldn't be anything "out" about it unless everybody involved just hopped out of their lives up to this point and went someplace they had never been before, implicit or explicit, individually and collectively.

Those "conventions" have evolved quite a bit in the last 100 years, haven't they? I mean, is there anything genuinely un-conventional left to do with purely acoustic music these days? I think the conventions are all there, it's now a question of who is familiar with them, who's not, and to what degree. My point is that I've grown a bit weary of people talking about "out" and shit in reference to musics and practices therein that have been much more well-documented than they have been engaged. The only "out" that is realistically available is out as in away from, everything else is either stationary or toward/in. And the math there predicts that gravity will do its thing one way or the other. If there's anything not yet done, I'm wagering that it is doing with organization, not source materials and applied maths therein/of. "Out"...it's not there anymore. It's here. Now. Can't be surprised by that!

y'all don't hear me

And as a coda to that coda, I suppose it's a fair question to ask what that really means, "play out"...out/outside of what, exactly? Seems like he was always inside whatever spaces he was in, at least with Circle (and there's a few things on the first Piano Improvisations records that are might seem "out" but are actually astounding specific). What's "out" for a listener usually/often is quite "in" to the players doing it. Sometimes it's the listener who is outside, not the music!

This is a really good record from perhaps an unlikely time, but from a not at all unlikely combination. And it's nice to hear this as a trio, without any of the "usual suspects" along on saxophones.

"Ebb Tide" should be heard to be believed.

ended up on my iPod somehow, no idea...it ain't bad. It ain't great either, but it ain't bad. Pretty good, actually, in that post 2nd Quintet BN spinoff records kind of way. Just not sure how it ended up on my iPod. I am liking Marcus Gilmore here.

Oh my....all candy, all the time...look out ears, you know you got a sweet tooth!

Orchestra arranged and conducted by David Van De Pitte.

aka There ya' go!

Emilio is just incredibly spry on that record. I can only imagine the influence he had on generations of violinists (of all ilks) coming up in and around that area, must have been immense. Speaking of spry violinists of all ilks, here's one of one ilk playing very spryly indeed: I keep finding records like this in acceptable (and very often better) condition for, like 4-5 bucks a pop. If the reason for going into the store is to find interesting music/musicians that are not yet familiar, hey, the financial math is pretty damn persuasive, and the post-purchase expense/rewarding-listening ratio is provably favorable.

Why must there be antipathy or anything? They just don't look at music the same way these days, which has nothing to do with liking or not liking the other guy. If anything, such esthetic differences can strengthen personal bonds over times, if the bonds are at root real and not just temporal devices of commercial convenience.

Came for Ernie, who here has that "casually retired" energy, but stayed for Emilio, who is taking no prisoners, period.

sourced from Supraphon:

Ao American Decca was doing DG records, if this example is any example. But English Decca was doing their American stuff on the London label. What the hell is a Decca, anyway? Anyway, this record has that really nice clear boxy sound that just overflows with the reek of mid 20th Century, early post-WWII classical recorda. I love it.

Circle was originally a trio, correct?

Dickie Goodman style break-in done with R&B! Oh, those Bihari brothers!

whoa...

Delightfully natural performances, down to the point of the ensembles on the Janacek piece being a bit wobbly pitch-wise..but nobody's getting uptight about it, which is indeed delightful. This Boston Records outfit looks interesting too: https://www.discogs.com/label/351684-Boston-Records Do I dare hope to find some of this stuff? We'll see. I ain't dead yet!

The Karl Korte piece is very engaging. Nothing is less than interesting, but that one has a real rhythmic urgency to it that sets it apart. Apparently Korte was on the faculty of UT for a quarter century or so, from 1971 to 1997....guess I shouldn't have been so limited in taste back then, might have heard some more good stuff beyond what was already there, in the air. Air goes everywhere, ears don't, not always.

No idea why they bought it, but I was going through a stack of eceased relatives' records that I had gotten about 5 years ago. Found this empty cover right off, and then a few years later, the record that goes in it. It's a crazy combo/setting, but certainly an entertaining listen.

Then that would not be Paul Desmond!!!!!

Upon reflection, I think why I don't think that Desmond/Gilberto would have worked as well is as simple as vocal range. Both Gilbertos ranges were lower than Desmond's alto (especially with his tone), and I don't know that being on top of that mix would be as, uh, "narcotic" a mix as one right in there with them, especially the way Taylor was EQ-ing the Verve dates in those days.