JSngry

I'd be almost literally shocked if Tatum didn't get to this before either Monk or Byas.

The original question was about "stitt substitution" in general that were in this example heard on a blues. A little research shows that they're more commonly known as "Monk changes", for whatever that's worth. But it definitely sounds like a "trick" used to weed out people who had not done their homework! As far as playing them on a blues, landing on the V makes it real easy to drop down to the IV, nice and easy. If I was going to look for it on a blues by somebody other than Stitt, I'd look for something by Gene Ammons, or maybe Lucky Thompson, one of those guys who had a deep bag of tricks, like cycling the keys for every chorus until you had played a chorus in all 12, that kind of thing. Skillertainment.

There's enough of a print trail to establish that Kuhn was quite excited to be playing with Trane and was excited about what they were playing together. He's s said that Trane was very nice about letting him go, saying that it was just a matter of wanting to take his music in a different direction, and that McCoy was the guy for that. But Kuhn was a bit deflated by the experience, unable to understand why what he was doing wasn't what Trane wanted, etc. Like I said, there's a bit of a print trail on this, so it's not speculation. Nor should it be overinflated into some kind of identity crisis. Just saying, Kuhn seems to have understood his removal better than he accepted it, or maybe the other way around, whatever.

Oh wow, Kuhn, after he had left Trane (and I guess was still a bit bruised by being dropped), plays Impressions, which Getz announces as "so what"...November 1961, same month as Coltrane recorded this at Birdland, but not released until a year + later...Roy was already subbing for Elvin by then, right? Wow, the goo is still on the history, almost 60 years later. Kuhn's fine in his own way, but that thing was not gonna work with Trane, no way. But with Roy, yeah, that works.

@1:49 1945, but I'm pretty sure there's earlier. I'd think Hawk, Tatum, definitely. I think there's a brief look at this progression in that Scott DeVeaux book? Monk did it a lot, maybe they picked it up from him, it's really just math, so look to anybody who knew their math like that, aka "vertical" players, as they used to be referred.

Charles Tolliver, per https://picnano.com/p/B0t2AQQIbqP

Short people got no reason to live?

VARIOUS ARTISTS - JAZZ FROM AMERICA ON DISQUES VOGUE (BOX SET) - 20 CD SET: https://www.amazon.com/Jazz-America-Disques-Vogue-Various/dp/B014S1LH9O/ref=sr_1_1?keywords=vogue+box+sets&qid=1565478700&rnid=301668&s=music&sr=1-1 VARIOUS ARTISTS - JAZZ ON DISQUES VOGUES - 20 CD SET: https://www.amazon.com/Jazz-Disques-Vogue-Various/dp/B0087PI57K/ref=sr_1_2?keywords=disques+vogue&qid=1565478897&s=music&sr=1-2

I have to stuff a pillow down my pillow's throat to get it to shut up.

for my money, the first recording (on Dial!!!, last on CRI) by Maro Ajemian is still the most satisfying. Later versions seem a bit "self-conscious" to me in a way that hers' does not. She doubles down on the "drum choir" concept and comes out a winner, baby got them new shoes, a whole closet of them!

Grady Tate! Calvin Newborn

I concur...that "early" Cage music is just beautiful, by any standard of "concept". Like you say, it works like crazy.

I don't get the impression that he had no sense of humor, just that the one he had was rooted in Zen (both before and after he got into that), the "absurdity" of contradictions. Can't say he woulda' been a barrel of laughs at a party, though... As far as it being "about" 4'33''...it plays a nifty, subject-appropriate trick by not really being about the piece itself nearly as much as it is about the people/place/things that surrounded it before/during/after. If the real purpose of 4'33" is about forcing an awareness of the music of our surroundings, then this book is "about" the "surroundings" that went into and came out of 4:33"...I'm not in any way an "expert" about any of those peoples, some, I've known only by name. This is a neat way to get more informed about all that and all them. Again, the Ashley Kahn model is what sprung to mind for me, only done with more depth and therefore, ultimately, more rewarding. I think you could say the book is not so much "about" 4'33" as it is "built around" it.

I'm largely finished with this now, and have thoroughly enjoyed reading it. It's like one of those Ashley Kahn "The Making Of..." books, only Gann is a lot more thorough in including backstories, influences, and antecedents. His writing style is a little "dry", but not harmfully so. And since he's talking about the "making of" a true event rather than a record...there's more meat on the bone to go into the soup. Mmmmm, SOUP! He's also clearly advocating for Cage in general, and 4'33" in particular. I don't think there are any minds to be changed here, but I think he does an excellent job at laying out all the ways that the piece matters for those to whom it does matter. Myself, I am very much an enjoyer of Cage's earlier works and find his later compositions to be inspiring as concepts, if not always in execution. Gann is very adept at pointing out how in Cage's world the concept is the music, in a really fundamental way. He makes his case quite convincingly, even if for me, it means that I don't have to actually hear it to hear it, if you know what I mean. Anyway, no idea how this would rate in the realm of Cage scholarship, but it seems a very nicely turned general read. Recommended as such, without hesitation.

I'm still paralyzed by the awesomeness of the cover...unable to open it yet.

PM sent on Mosaic Small Select Box CD Sets John Patton. $69

The girls don't know, but the little babies understand.

Not far-fetched at all, that's about as close as Ringo was going to get to copping Elvin (and i still sounds to me like the drum part was recorded in two parts, cymbals alone + drums alone. That cymbal is just sooooooo non-stop!!!). But there it is. That originally released mix...the common one is like acid, this one is like acid with your finger in a light socket.

Yeah, that'd the one! Where is Da Capo with the paperbacks now that you need them?

Indeed it might!

The Easton book, if it's the one I'm thinking about, also describes how Graettinger subsisted soley on raw eggs or some weirdass shit like that, and never slept. "You can sleep when you're dead", supposedly. Graetinger's music holds up, imo, holds up very, very well. (i think it's the Easton book where somebody talked about how Graettinger drew a tree, and by god,, it ended up sounding like a tree...take that for what it's worth, but everytime I hear it, I hear structure, direction, intent, all that good stuff, trees be damned). But imo, that reaction by Kenton is an indicator of where Stan Kenton (the individual, not the brand-name or the organization) really stood musically. He didn't know, and he didn't really care. He just got tickled by the spectacle he was enabling.

Question - what book is this, exactly? The thing from Scarecrow Press that is (for me) a little prohibitively priced, or something else? What's it called. Bass Notes? George Duvivier has long fascinated me. I'd love to read this.

Can you imagine, 500 copies pressed and released and then STOP THE PRESSES!!! WE'RE GOING WITH ANOTHER MIX!!!! 500 copies. MONO copies at that. That's all. Period. or was it 600? Don't recall. Still, a shockingly small number of copies.

I never got around to the Purple Chick Abbey Road, but did the Revolver. The evolution of "Tomorrow Never Knows" is itself cause for a study, up to and especially including "Mix 11".