JSngry

Plucked out of a Goodwill the other day for 50 cents. Record looks awful but plays just fine (how did they make those old LPs that they could do that, look beat but sound fine?). Cover's really nice thick cardboard, plus the music has not been widely reissued, best as I can tell.

So the "transversal" thing has nothing to do with anything about the composition itself?

"transversal"? please explain/educate?

Grand Funk Railroad was pretty much a hard stop for me. Zepplin already was making me question things, but THOSE guys, I had heard We're Only In It For The Money, like a few months after GFR, and I was like, oh, ok, I see how THIS is gonna go... What was REALLY funny though, was that there was a local "Muzak" FM station that leaned heavily on standards, and sometimes with a little "jazz"" spin on some of them. I would listen to that station to get a greater familiarity with the songs I was hearing a lot of jazz people play. Looking back, playing Ayler on the record player in my room and hearing Jackie Gleason on the portable FM in the bathroom and then "Funky Worm" or something on the AM soul station all in any given day...who the hell needed, much less WANTED to hear Grand Funk Railroad? Not me! Also - when the clunky 4/4 piano took over and the tempos slowed down...between that and all the thuddy guitar-pillar fascism, it was almost like they were inviting me to leave. So I did!

TMR has at least acquired some kind of "cult-cred". I think it's Lick My Decals Off, Baby that is in danger of evaporating from the collective consciousness altogether...hope I'm wrong.

Pretty much a hard yes on that one, considering everything I started listening to instead and where all THAT led to (and still leads). I mean, it was funny, when I became a senior in high school, it was like, oh wow, I'm going to actually get invited to a party or two where there's not just band-clique kids, may be time to try to do some basic "social skill" update. So I turned the rock/top 40 stations back on and was more or less nauseous. turned out that almost anything that was worth a damn was already on the R&B radio and/or in the records that we played in the band hall before and after school. But it was nice to hear what was and wasn't crossing over. And funnier still, I had a pop/rock "reawakening" of sorts in 1976, a combination of things, really, but there was enough going on for a few years there that having the radio on in other people's worlds was actually fun. Between ear-candy and early punk, that was fun. But not THAT kind of fun. And, as is the nature of pop, it didn't last. Frankly, I think these types of books are like "oldies radio" - suckers' games aimed at aging people who need to feel that they used to be somebody other than gullible mass consumers. If they looked at where they are now - and especially where they're heading - there would be, like, a mass suicide of incalculable proportions, and then their market would be all gone. Gotta keep that market going! 1971 - EXPLODE!!!!!!!!

Around 1971 was around when "the industry" began to get a grip on and develop a strategy about what would actually work - as in, get done and STAY get done - with the post-Beatles "youth culture", instead of just signing anything and anybody. So yeah, there's your "explosion". If you wanted a towel, you better have brought your own, they sure as hell weren't gonna give you one. It's funny, though, 1971 was when I stopped listening to pop/rock radio and records altogether. Just lucky, I guess!

https://www.answers.com/Q/What_year_did_February_27_fall_on_a_Wednesday That's Wednesday, February 27, 1974.

So, Václav Talich is a name to watch for in general then, yes? I've picked him up doing a few Bartok things lately and have really enjoyed them, a lot.

Is there tape?

uh, sure.

"do you have any original material?"

He'll be in good company, composing 2oth Century music for Contemporary records!

There would still be a good package to be made of the live Columbias.

There's only one "Drake" that belongs is a jazz conversation, and surely this is not him being discussed! So who are we talking about?

wow...I vividly recall his seeming out-of-nowhere debut on SNL...talk about a seriously WTF???? moment...and then the first WB LP, reinforcing that first impression. Nothing from him after that made anything close to that type of impact on me, but major love still for doing what it did when it did it. RIP, and can I have your walking stick now, please?

occasional oboe by cooper?

OOOOOO.....WALTER NORRIS??????

so there will be Shelley Manne on this one? Maybe Barney Kessell as well?

Ok, who is Chris Stamey? I remember the name from one of those 90s bands, maybe the dbs, was that them? But why is he making a now record for Lester Koenig, and will Shelley Manne still be on drums?

I guess, then, that I should be thankful that I'm totally unaware of there being any amateur jazz drum circles?

I have a mono Anything Goes picked new out of a TG&Y (dime store) cutout rack ca. 1971, complete with the sealed plastic inner sleeve that you had to rip open along the perforation. Monos would frequently turn up in places like that, as I guess distributors were unloading them as undesirable/unsellable. Anything Goes is glorious in mono, and "What Is This Thing called Love" is one of the great latter-day Desmond performances.

MAX ROACH "SOLOS" Max Roach, drums A1. Big Sid 06:17 A2. Jas-Me 05:17 A3. J.C. Mose-J's 05:07 B1. Five For Paul 06:10 B2. Mr. Hi-Hat 04:36 B3. South Africa '76 07:38 Recorded August 30, 1977 at Long View Farm Studio, Mass., U.S.A. BAYSTATE RVJ-6021