JSngry

It took me damn near all 21 to get these, but here ya' go: John Dankworth THE ZODIAC VARIATIONS & THE $1,000,000 COLLECTION Excellent writing and solos to match. I am not a Dankworth fan at all, but these are good records. Benny Goodman Benny Goodman in Moscow Hey, tour was a nightmare, record's a dream. Robert Farnon SYMPHONY NO.2 & CAPTAIN HORATIO HORNBLOWER SUITE Farnon! Jackie Gleason & His Orchestra THE TORCH WITH THE BLUE FLAME Where there would usually be Bobby Hackett, here there is Lawrence Brown showing that Johnyyu Hodges wasn't the only one who could make a record like this and have it work for everybody. Everybody. Harry Carney/Harold Ashby & Paul Gonsalves Rock Me Gently & Two from Duke They all came to play. Joe Harriott & Amancio D'Silva Hum Dono No bullshit music.

One hopes!

YouTube commentator says: 2:22-best barefoot shot ever, and one of the first! Really? Was barefoot some kind of taboo back then?

Fortunately, I have LPs that contain all the music, as well as mp3 players that aren't dependent on CD capacity limits!

Here's one for ya'! I'd never noticed it until hearing the alternate take on the new Resonance set (for the 3rd time at that), but listen to the transition from the end of the opening head to Dolphy's solo - the flute in the ensemble plays a downward figure that sets up the solo entry. On the master take, there is a bit of unnaturalness to the way the flute solo begins almost at the immediate end of that figure, but on the alternate, holy shit, Dolphy plays right over it, there's two flutes playing at the same time for a second or so! The logistics of this have me a little puzzled. Either Lasha was playing the ensemble part, or else there was a punch-in somewhere. I don't hear a splice anywhere (and would not expect one, since the alternate clearly reveals what is up strategically - although there MIGHT be one in the middle of Woody's solo on the master)). I don't at all consider that the solos themselves were overdubbed over a bare rhythm track, doesn't sound like that at all, it's just that opening head, and really just those last two bars. I'd bet dollars to doughnuts, though, that that's why the alternate stayed put for so long. Somebody caught the overlap and figured hey, you can't have this on a jazz record, it's supposed to be 100% real (joke would have been on them, of course), or else that it just sounded sloppy (yet they rolled tape for the rest of the take!). I think I may prefer Dolphy's solo on the alternate, but then again, that one is new to my ears, the master is anything but. Anyway, on both takes, you can identify how Dolphy's mike presence on his solo is really different than it is on the heads. Until I heard the alternat, I just figured that was an in-studio, real-time adjustment by all concerned. But hearing the alternate, and then going back to the master, pretty much seals the deal that they were doing something other than a straight real-time take of the live quintet. Have fun with this one, and somebody find Eddie Khan and/or Richard Davis while there's still time to ask about shit like this!

Well then, do it right!

And is a bit incomplete iirc?

https://www.jazz.org/press/blue-engine-records-announces-betty-carters-the-music-never-stops/ THE MUSIC NEVER STOPSTRACK LISTING: 1. “Ms. B.C.” Written by Pamela Watson Arranged by Bobby Watson Personnel: The Big Band* Soloists: Alex Foster (tenor saxophone), Kamau Adilifu (trumpet) 2. “Make It Last” Written by Dick Haymes Arranged by Melba Liston Personnel: Betty Carter (vocals), The Big Band*, The Strings** 3. “30 Years” Written by Betty Carter Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Greg Hutchinson (drums) 4. “Why Him? / Where or When / What’s New? Why Him?” Written by Burton Lane & Alan Jay Lerner Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Greg Hutchinson (drums) “Where or When” Written by Lorenz Hart & Richard Rodgers Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Greg Hutchinson (drums) “What’s New?” Written by Bob Haggart & Johnny Burke Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Greg Hutchinson (drums) 5. “Tight! / Mr. Gentleman” Written by Betty Carter Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Greg Hutchinson (drums) 6. “Social Call” Written by Qusim Basheer & Jon Hendricks Arranged by Gigi Gryce Personnel: Betty Carter (vocals), The Big Band* Soloists: Lou Marini (tenor saxophone) 7. “Moonlight in Vermont” Written by John M Blackburn & Karl Suessdorf Personnel: Betty Carter (vocals), The Big Band* 8. “The Good Life” Written by Sacha Distel, Jean Broussolle & Jack Reardon Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Clarence Penn (drums) 9. “Bridges” Written by Betty Carter Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Clarence Penn (drums) 10. “If I Should Lose You” Written by Leo Robin & Ralph Rainger Personnel: Betty Carter (vocals), Geri Allen (piano) 11. “Most Gentlemen Don’t Like Love” Written by Cole Porter Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Clarence Penn (drums) Includes interpolation of: “Everything I Have Is Yours” Written by Harold Adamson & Burton Lane Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Clarence Penn (drums) 12. “Make Him Believe” Written by Betty Carter Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), The Strings**, Geri Allen (conductor) 13. “Frenesi” Written by Alberto Dominguez & Leonard Whitcup Arranged by Gigi Gryce Personnel: Betty Carter (vocals), The Big Band* PERSONNEL: The Trios Cyrus Chestnut – piano Ariel Roland – bass Clarence Penn – drums John Hicks – piano Lisle Atkinson – bass Kenny Washington – drums Featuring Geri Allen – piano Greg Hutchinson – drums The Big Band* Jerry Dodgion – alto saxophone Rick Wald – alto saxophone Alex Foster – tenor saxophone Lou Marini – tenor saxophone Joe Temperley – baritone saxophone Art Baron – trombone Robin Eubanks – trombone Joe Randazzo – trombone Lew Soloff – trumpet Earl Gardner – trumpet Ron Tooley – trumpet Kamau Adilifu – trumpet John Hicks – piano Lisle Atkinson – bass Kenny Washington – drums The Strings** Jeanne LeBlanc – cello Akua Dixon – cello Julie Green – cello Bruce Wang – cello John Beal – bass Dave Finck – bass https://www.amazon.com/Music-Never-Stops-Betty-Carter/dp/B07N1MZJ86

A "psychological thriller", nothing like the poster. Almost great, but not quite really good, hate it when that happens, but still, certainly worth looking at at least once.

frabjous

in the pocket.

I've always enjoyed Stu Martin.

Oh yeah, that one was on for years! Check this out if you haven't already: http://www.classicthemes.com/nbcLivingColor.html

I don't know what school you went to, but if you had gone to NT, your composition department would have been chaired by a guy who was championing Penderecki, making sure that the Electronic Music lab got fully staffed and funded, and writing a piece called "In Memorium, Frankie Newton" which pretty much sucked, but still...nothing angsty or ______berg about that title. I wasn't in that world, just around it, but I was getting the impression that serialism/12 tone/etc was already on the way out as a doctrine. But it was still very much being taught as an organization tool. I never met any comp student who insisted that it was the "only" way. but I never met any who negated it as a valuable tool, nor did I meet anybody who knew it only in it's simplest form.(except for this one guy who was all about being the new Chopin, but he was just a creep who would constantly complain that his dorm room smelled like pussy all the time, and we'd be like, dude, smoke some weed up in there to cover that stank up, and he would scoff and get in a huff about degenerates and all that). It seemed like it was studied with the same depth and seriousness as traditional "theory", which makes sense to me. I did know one guy who was a militant serialist, and he was a really interesting story, talked a lot of really good games, and then he had his senior recital, and...it wasn't very good. Not even interesting fails, just not good. All serial, no milk, shredded wheat at its worst. But that was his fault. Nobody balmes Schoenberg for that, Schoenberg didn't write that shit, right? Sorry about your lasting personal trauma, but I don't see what it has shit to do with Schoenberg or his music, all of which were over and done with probably before you were born. Why don't you call these assholes who really fucked you over by their names, rather than letting them hide their abuse behind somebody else? #youtoo Or if it's not that big a deal, just let it go and stop enabling these haters and their yutubs. You, I get. These videos, no, not at all.

Myopic. Hell, the sheer number of "classical music lovers" - of any type of "classical music" - has shrunken so much since 1962 that the only "trend" that's readily apparent to me is that the audience for truly composed, or compositionally-based, music has been in decline for about as long as the more easily grasped (and slowly-devolving) "song" has been on the rise. Our orchestra here is trying to find a commercially viable balance between the 18th, 19th, 20th, AND 21st Century. the problem appears to be that the people who insist on the older rep are dying off, the people who want to hear the newer reps don't really incorporate symphony attendance into their lifestyle except, at best, as an afterthought, and the people who really want to hear the more "advanced" stuff are adequately (enough) served by chamber groups. So where's the impetus to book anything too unfamiliar? The performance of Pierrot I saw was on the bill with a Brecht-Weil cabaret presentation, and the house was overflowing. For Crissakes, van Sweden did a one-night only Bruckner thing and it drew a little over a 50% full house. Bruckner is not atonl, for damn sure not serial, And Bruckner does not draw. Stravinsky, outside of the "popular" ones (of which there are really, what, 3? 4?) does not pack the house. We go on Saturday nights, which has the bigger houses, and very, very little, packs the house. You want discouraging? Go to a Thursday night gig. And bring a picnic basket, with a tablecloth, there's room in the seats. Serialism didn't "kill" shit. Don't believe that. Serialism might have accelerated the general audience aversion to "difficult" music, but that was going to happen any way, just look at American culture in general. Between player pianos and Victrolas, how the hell could 3 minute pop songs of predictable repetitive structures NOT suck people? Path of least resistance for a people too busy to sit down and absorb something other than themselves. I've heard the same shit about "jazz" for decades now, that things got too "far out" for the "average person", as if that's the fault of the music. Well hell, look at what the "average person" is into - it ain't anything having to do with thinking too much about anything that's not already right in front of their own faces. Same thing with films, television(!!!!), and traditional analog creative process. The world has already passed that by (although in what direction remains to be seen) and is not too far from jettisoning it completely. Besides, you can't "unhear" anything once you've heard it. Shit evolves. Most of the newer classical music I hear today is as rooted in minimalism as it is anything, but the impact of the 2nd Viennese School lingers on . And the real "cutting edge" classical scene (to the extent that I've even heard of it) is all about composing as an act rather than a skill set. There's an audience, and of course it's small. But - say what you want about Phillip Glass (and I will not say much good), at one point her was in that both. And/But, I have hear the DSO perform Phillp Glass works on not one but two separate occasions and oh my yes, he did put butts in the seats. But would those same butts be in those same seats for Beethoven or Mozart or Brahms or any of "those guys"? No. They're an (largely) entirely different audience, those folks are (and I go out to the symphony for the music first, but a close second is to indulge in observational sociology before and after the immediate performance,,,fascinating things you see). And if you programmed a season of Glass-ian works in hopes of getting that all season long....no. "Average people" just do not care that much about too much of anything that is not of themselves. I mean, I get that your composition teacher from 40 years ago was a jerk, quite possibly/probably an idiot, and apparently has left some scars that haven't healed. Such is life as an adult. And I get that Gunther Schuller wanted to be popular with both "sides of the tracks" (but read those liner notes to the Buster Smith record again to see what a fundamental disadvantage he was working from in pursuing that goal). So I get that you have "issues" with "Schoenberg" and serialism. But look at the quality and honesty of these "humorous takes". They are not funny, and they do not come from a funny place. They're part and parcel of the whole tendencies to marginalize, isolate, neutralize, and then destroy altogether anything that is "other" in culture. It's not funny and it's not benign. Not these things. You know what's demoralizing, and quite possibly terrifying? The idea that Schoenberg/Webern/Berg all sound the same to some people. They don't, and never have, at least to not me. But I have seen what happens when malevolent idiots go about de-facing individuals for the purpose of pursuing the desire to eliminate/exterminate "their type". Unacceptable. Yeah, there is no real element of angst in classical music today, That's the problem!

Some of those Word Jazz things seem, to me, like they should be standard reading/listening in some sort of 20th Century American Literature calsses, the type that probably hardly exist, (if they exist at all). OTOH, they're quintessentially "middlebrow" (if you subscribe to the whole brow hierarchy thing at all), yet at the same time, they're complete renderings of an entire ethos of a time and place. Quite remarkable achievements, the best of them.

I found the visual element to be, perhaps, key to the whole thing. Being in the room with this person telling this story, looking right at them while they told it. Pretty hard to disengage when that's going on. After all, it was composed for live performance, not for a record date. Once again, live music...

Black Gospel Choral music pre-James Cleveland! Having never hear of Jose White, I did not understand what his music was about until I looked up his dateline, and then, ok, that's why. Multiple listening bring out the personality of the music, which is very nice indeed. The Baker piece is very impressive, but I'd like to hear a more "lived-in" reading of it, because it seems like it SHOULD be lived in. Has the piece at all entered into the repertoire, and if so, is there such a recording out there.

Totally agreed, and I'd entertain the notion that the concept has remained fundamentally the same, that it's the players playing it who have lived in/with it long enough to open up that loseness and organi-ness. The whole thing when first appeared, was not unlike the odd-meters of a few decades earlier. There was a lot of math involved, and most people had to do the math while playing jsut to keep it from falling apart. They were high level players, but still....math is math. But the longer that shit was out there, the more natural it came as instinct, math certainly evolves like that. And now, with a good Steve Coleman band, the math is not at all what you hear right away, you just hear the impulses and pulsations and worry about the math later, if at all. Maybe I'm projecting my evolution as a listener onto the music itself, but the further the records go, the looser the bands sound to me, evern when A-B ing older vs. newer.