JSngry

Yeah, well, let's see how timeless ANY of this shit is by this time next century....

Gong I knew pretty well from thear "trilogy" the teap[ot album and such. But weren't they a wee bit after the earliest Floyd? Or not? And the stuff I know isn't heavy on electronics as such? God, that was a long time ago that I listened to all that...1976 or so. 43 years!

Now on the radar, thanks!

http://research.culturalequity.org/home-audio.jsp

Ah, Can, there's a name I know, but not the music to go with it. Was Soft Machine ever in that place, even for a little bit, or were they more outright "jazz-rock"-ish (albeit in their own way) from jump? The two Probe albums...no way for me to ascertain what they were doing live from those...surety not that? Yes, more than once. I know what it is that I'm not connecting with. No need top press the point, after a while it's like the Wynton guys a while back trying to convince me that the only reason I didn't like Wynton was that I just hadn't heard the right record.

EXTRA credit for discretionary hindsight!

Stockhausen was definitely "in the air" around that time. If nothing else, it was a hip name to drop. If Floyd was drawing from that more than American blues, that might be of interest to me (because hey, it's STILL a hip name to drop! ). I think maybe the first Tangerine Dream album (the one with the ear) had some of that same type of influence, I don't know, it was a looong time ago since I was checking that stuff out. Anybody else around then working that vein? Not so much the "jamming" as the electronic textures as a primary content? Please don't say the Dead, either, that's so NOT what I'm looking for.

Ah, ok. Other than the Dead (whom I have never connected with, ever, sorry, Steve), and maybe, at times, Crimson, I would not have thought of any of those others as doing the "space jam" thing that PF seems to be doing during the period in question. Maybe I've just missed it, but if so, it'll probably stay missed. No way am I going to go back and listen to all "that" again. My interest in PF was piqued a little by Guy's mention of Stockhausen as an early influence. Now I'm seeing comparisons to Clapton, Garcia,, Allman, etc. and oooooohhhhh...no thanks, maybe? Nothing to find there that's not already over-known.

No dog in this hunt, just digging for my own edification, but if they weren't particularly good at that type of thing, who, at that time, was better?

Ray Charles, not even close.

Everything I was expecting, plus a healthy dose of Brian Wilson-eque twists and turns, which I wasn't expecting. Nice!.

https://www.dottimerecords.com/news/franklin-kiermyers-solomons-daughter-25th-anniversary-re-issue-on-dot-time-records/ Guess this slipped under some radars, but here iut is, the original album + 3 extra cuts. Some of the best Pharoah on record, period, imo.

Well...that can get tricky...House music as I've encountered it (I checked it out pretty good for a few years a few years ago, and my daughter is pretty well-informed, much more than I am) is different from traditional mainstream pop product in a lot of ways: The primary listening mode is communal instead of individual. Clubs, not homes, not radio. The primary purpose of listening seems to be participational. Although you can indeed listen to the best of it as music, mostl of it loses it's reason for being if you're not actively dancing to it. But if you are dancing to it, then it delivers THAT meaning. Product sales are now almost entirely digital, and not through iTunes or Amazon. "Labels" in the old sense really don't exist. The old concepts of sales and distribution and promotion never really lived in this world, at least not in any coporate/industial way. Hell, 12"s were often as not bootleg/homemade as they were anything. And now... The emphasis is not on marketing artists, it's on DJs and their mixes Beyond marketing the product, the other marketing emphasis in on DJs spinning, a performance practice that destroys the notion of going to hear a band play their songs, or even going to hear a cover band."Songs" are no longer the main focus, the mix is. The whole thing is very...underground, thus the term "dance underground". It's a very real thing, and it seems to stay that way on purpose, There is an almost total lack of "exposure" to the "mainstream" entertainment industry, of for that matter, to "mainstream society" at large. House and Techno and EDM are all easily lumped together, but as with all easy lumpings,that's lazy thinking, and as such, a faulty premise. so don't trust any conclusions drawn therefrom. Basically, just saying that the phrase "household name" is very much dependent on whose households you're looking at (and whose households you see are going to be dependent on where you know that households exist). I am very, very, very skeptical that Eric Prydz has the overall international name-recognition that Pink Floyd does, but I'm not at all skeptical that there's a quite sizeable international audience to whom he is indeed a household name. And if that is true, the reason "we" don't see that is because now, as then, there are parallel universes in the world, and they don't always talk to and/or know about the other ones. Keep in mind that there has been a long-standing institutional industry in place to keep a few of those universes under control, to ensure that its musics is promoted across all platforms to its demographics of choice, for reals sometimes, malevolent, sometime not, but always with finance in mind. And yes, sometimes that industry makes it a point to see to it that "you" don't hear/hear about some of the others. Setting aside the possibility that 50,000,000 Elvis fans could indeed be wrong, consider that 50,000,000 was at best 1-2% of the global population of 1960, So, what about the other 98% of the world? Were they wrong? Were they simply in need of the Elvis Missionary Force? Were they not really there? Are these 50,000,000 the only real people in the world? If so, they're the only ones who really matter, right? Now, surely that's not Cultural Imperialism in action?!?!?!?! Popularity of music, and who is going to know about what, and who should know about what, and, especially, who does NOT know about what, you can't look at these things without looking at the commercial forces that propel these exposures, nor can you not consider the very real possibility that a lot of what you know before you develop the capacity and/or inclination to learn different than what you already know has been put there for you by forces that very much benefit from you swallowing it whole and only expelling part of it after you digest it.

Not quite as clean as the Bartok Records LP, but pretty damn close. No scratches, just a few one-time pops. And no noise at all in the quiet spaces. I had forgotten how quiet a well-made and well-cared for LP could really be.

I like that writing a lot.

https://www.amazingclubs.com/pieofthemonthclub.html Rich relations should give you crust of pie and such. You can help yourself, and take it ALL!

PM on: ohn McCabe - String Quartets 3,4,5 (Hyperion) $6 Paul Hindemith - String Quartets 1-6 (2 cds on Praga) $12 Stockhausen - Helikopter Quartett Arditti (Montaigne WDR) $5 Messiaen - Turangalia Symphony BBC Recording (BBC Music) $4 Nathan Milstein - 1953 Library of Congress (Bridge) $8 Ginette Neveu - The Complete Studio Recordings (4 cds on Intense Media) $9 Shostakovich - Complete String Quartets Manhattan String Quartet (6 cds on Ess.A.Y. records) $20 Xenakis - Kraanerg (Sombient) $6 Constantin Silvestri - The Legendary Conductor 15 cds on Warner/EMI $20 plus: Cannonball Adderley - Alabama Concerto (OJC)

Not me, dawg, Ruth Etting.

Nothing that actually happened, no.

He was with Maynard before departing the US. That's how I first heard the name. Damn solid drummer. also worked with Slide Hampton in Europe a good deal, iirc. Bassist here is Ron McClure, soon to be with Charles Lloyd.

Looks to be high-potential! https://www.discogs.com/Cannonball-Adderley-Quintet-Liederhalle-Stuttgart-March-20-1969/release/5492468

Mosaic beat you to it, it'll be here before summer!

Well of course they do. And they're bullshit too. The realities are much more dire, dirty, and depressing. A myth is a dream your head makes When you're fast asleep. In dreams you will dull your headaches Whatever you wish for, you keep. Yes, credit for having heard of names that were already world-famous, and in some cases, already dead, when you were born, or at least a children. It is important that we give credit for that. So important. People feel better when they get credit.