JSngry

It goes on: https://www.discogs.com/artist/1706714-Barbara-Gardner RIP to, among other things, yet another example of an Chicago-centric African-American entrepreneurial spirit that runs wider and deeper than traditional American history tends to highlight.

Quite for real, the Quincy Jones date is worth having.

Popped it into the car this AM. Almost had to stop driving when hearing "Music Matador" for the first time in probably at least 10 years or more. That shit is LOL crackup music, I love it. Has anybody noted the similarity between Dolphy's more extreme bass clarinet sonics and Alber Ayler's use of tenor same? I've been hearing it for years but just really noticed it for the first time today.

Was Now Was

Ok then, now I get it!

I wonder what they're turning to...I'm discovering, via internet radio, that there is an amazing amount of "classical music radio" from all over the world that is every bit as dull, lifeless, and (beyond) predictable as every other type of radio. I also wonder how many classical boards there are. Ooops, sorry, not the end of the sentence. I wonder how many classical boards there are with people pointing to this article and saying hey look, the kids are coming back to our music, hooray. You wanna know how to get away from "the noise of modern life"? Stop making it, simple as that. Or even better, make it into music instead of just regurgitating nose back as noise. Because anything that is not silence is simply noise unless and until somebody makes it otherwise. Abdicating that responsibility is not a solution, although it certainly is an option!

I think it's hilarious when a put-down sucks more than its subject!

People all over the world were chasing Miles. I'm glad we've all gotten rid of our prejudices and or preconceptions, but changes in our personal perceptions do nothing to change the fact that people all over the world were chasing Miles. Why would they not? It's great that we keep seeing a bigger and bigger yard, but the house is still there, right where it's always been. That's not an American thing, that's a Miles thing.

Reggie knew what he was doing, he knew what norms he was breaking and why he was breaking them He didn't assume that it was no big deal to do shit like that. He knew it was a big deal, that's why he did it. And he knew that if he fucked up in the process, there would be karma. Therein lies the difference, usually.

APBA it is. I had a buddy who got a set (this was in 1966, we were, like, 11 or so) and we had to put it up, too complicated. But Strat-o-Matic, hell yeah, we were ALL up in the Strat-O-Matic, bought the new team sets annually, etc. I can tell you EXACTLY where mine is right now - in my closet, looking at me every time I turn on the light. That shit was FUN!

Those Frank/Brooks/Etc Orioles teams might be my all-time favorites, even more than the Rangers when they had their runs.

Comparing Hino and Kenny Cox relative to Miles, that's kinda like picking out carpet for your house based on what looks good in the hall closet. I kid, mostly, but still, just sayin'. No disrespect to either, but, c'mon. The, which one is it, Journey to Air, sorry, I've heard that whole thing done much more organically than that, it's one of the genres I came of age on. Maybe I'm jaded, but when I say I hear "effects", I just mean that the whole thing strikes me as a groping reaction rather than an organic outgrowth. Nothing really "wrong" with that, per se, that's how growth can happen, but still...Bob Moses, yes, he was organic to that world. The other guys, not so much. They were certainly around it, and were very good neighbors, but all in, did they get their mail in that zip code, even at a PO Box for pickup? Nope. The thing with Bartz, sure it sounds boxy and crappy and all that. No different than many Strata-East/etc sides. Not a disqualifier for me. I really, really like how Bartz steps outside his soon-to-become somewhat codified language and really stretches. Plus, Eric Gravatt is a total motherfucker on this record. ALL up in it!And hino gets of the Miles tip altogether, which is a nice change. Miles' live cohesion? Dude, the Sonny Fortune bands were tighter than the proverbial gnat's ass. Wait until/if the Bootleg Series brings some of those shows out. The content distribution is totally different than it was when the music was more or less about "soloing", but oh well about that. Amazingly tight group music.

Not sure if "unfair to Hino" is really a consideration. The record is what it is, it happened when it did, the players were who they are, and there sit the results. None of this music happens without Miles doing his thing first. The music stands or falls on its own merits, but there are still real-world baselines against it can/should be evaluated. Other hino records have a bit more distinct an identity, but this one, imo, is not one of those. The Teo question is fully legit, but in this case tempered by something like Black Beauty and other live shows that Teo did not do his thing with. That music was played in real time, and still exists. Again, there is a baseline for anybody who looks for one. At 30 bucks a pop, I'm looking for one. I forgot to post this when I listened, but I like the record with Bartz a lot more than Rooster did. And Hino drops the Miles thing more or less completely here, in favor of a Shaw/Tolliver angle. The whole thing sounds like a lost Strata-East/Milestone date, with Bartz, and especially Gravatt in prime form. I like the guitarist as well. This music sounds more bitterly formed than the other one.

Since blind people supposedly develop more sensitive hearing to compensate for the loss of one sense, maybe we redefine "blind testing" to get a handle on who can really hear what.

Has anybody stayed in touch with Maren? Wonder if she's still doing babysitting gigs?

"one for each cheek", so he says he said.

Seeing those boxes in the racks was an almost illicit thrill. And don't forget the magisterial Ben Webster Emarcy thing he did on just 2 LPs, that's one I could and did afford on the spot. RIP to a true artisan.

TTK, if you will kindly allow it, here's the Straight Down The Mittle Videothings. "These Foolish Things" is a really nice chart by anybody's standard - and executed beautifully. It's a keeper, hardcore. "Scotch & Sauter" is a hoot (and maybe more than a little cynical?) Mostly, though, sounds like they had a "dance book" and needed to use it on this session. The quirk is gone, and as much as it's a certain set of quirk that bugs me about this band, hey, there's a certain set of it that I like. Seems like they (or somebody) just said "FUCK the quirk". I wish they would have thought a little more on that. Seems that they put the three best/most original charts at the end of Side 2. I've been wondering if there might be innuendo about the cover, it's like on the floor he's off-center and she has to take him home to show him (lovingly but unambiguously, and only behind thier own four walls) how it goes, but....maybe I just have that kind of mind? But yeah, look at this sequencing, it's like, your reward if you listen all the way through both sides is to get the three good 'uns, and if you don't know/care enough, hey, jsut play Side 1 and be done with it.

https://www.allmusic.com/artist/leon-eason-mn0001844108 At least one item in there is blatantly wrong, but the rest might be legit (enough).

No religious discussions, please!

Dear Steve - the article itself was not a piece of humor, intentional or otherwise. What ws funny to me was the notion of some teenager being sent into a fit of UberAngst by the very notion of JAZZ!!!! BOOGA BOOGA!!!! Jazz has all kinds of problems, but none of them should scare Little EmoBoys. And that's what cracks me up, the notion that oh dear, we have a kid that is terrified by the notion of jazz, and then, no mention of how stupid a notion that is - for anything - but that there's a LIFE LESSON to be learned here, and it's not that don't be stupid about music - in this case, jazz - but to just work through it, go with your feelings. Hell, it's this boy's feelings that fucked him up to begin with. Teach that motherfucker some rational thought processes firt, THEN let him negotiate his "feelings". Not meaning to minimalize the importance of feelings, of course, but gottdamm, you got a teenager getting fucked up because of a fear of jazz...feelings are NOT his problem!. And you know, jazz causes interracial dating, maybe THAT'S what he's afraid of, the little neo-Nazi punk.