JSngry

Lonehill has also been guilty of plundering other's work. The Rusty Bryant Dot jazz collection comes to mind. The Japanese had done it all first, so... And yes, Pudhol, I'd feel better about him if there wasn't such a swath of back-story around/abounding, and if he didn't present such an innocent front. No way he does everything "cleanly". I there was, there's be no need to equivocate and blur so much.

Thanks. He kinda creeps me out, like he's Johnny Mercer trying to do Joe Carroll or some weird shit like that. If it's supposed to make me chuckle, then great. But I'm not sure that it is, so...

Lonehill bugs me because their packaging builds expectations for a better product than is actually delivered. Still just a bunch of needle-drops.

That's the one thing I've come to appreciate about soccer - stoppage time after regulation runs out.

Point just being - you can tell who's doing it out of love and respect and who's just putting shit out because they can.

I always appreciate the respect shown by giving me the ability to do my own culling, rather than the presumption of somebody doing it for me. Like there was a Coleman Hawkins disc of there's that had some wierdass R&B cut where Hawk lest held this low note, and I mean held it. Not loud either. It was kind of spooky, to be honest. I don't have that disc, somebody played it for me, and I'll be damned if I've found it anywhere else. But Crqnokoligal Classics, they put it out, because that was what they did, hey, it's Coleman Hawkins, it's in the period of this disc, it goes on there, no matter how obscure it is, no matter how deeply we have to dig, because THIS is what we do,.

yeah, well, somebody long ago pointed out the, uh, "coincidence" of Proper never releasing anything until somebody else had cleaned it up first. I took note then, and take note now. So put me down as somebody who has more than one reason for not dealing with Proper. I'll say it again - Ace & Bear Family (and when they were around, Cornholiogical Classics) show(ed) a true, non-cynical, respect for their customers.

If they stop the clock more, they can sell more ads. I remember my dad taking me to a Houston Oilers game ca. 1965. the game was not on television (ah, those were the days!) and we were outta there in, like 2.5 hours, more or less. Try getting that anywhere today.

I always assumed it was to accommodate greater ad volume.

Is it Joe Mooney who is the male vocalist on this album?

It was a convenient game. I was not particularly motivated to watch, so casually turning it on after halftime and seeing 3-0 was like, oh, cool, guess I didn't miss all that much,. glad I got that other stuff done. And them, yeah, good game. As with pitcher's duels in baseball, tension builds when teams don't score.

Haven't heard them all, but the ones I have heard are indeed excellent. He's not afraid to bring the idiom to the music, as opposed to trying to make the music fit the idiom. It's a fine line indeed, but from what I've heard, he walks it really well.

They gave you a service/advantage that you didn't ask for. Either they fucked up accidentally or else are exceeding expectations intentionally.

Dude, pedal steels, you gotta work the feet and the knees. You don't really get the full extent of body movement involved until you stand behind one of them and watch all that stuff going on. Dizzying! Country playing gets involved enough, but to watch somebody play jazz on one of those things....whew.

I bought one Proper set, a Coleman Hawkins thing, and although what was there was fine, it pissed me off to no end that there were not one complete session!s Apart from their seemingly questionable sourcing, that's the main motivator for me to avoid them. I'm just not that kind of "collector", not about stuff like that. That's what I always liked about Chornologicol Clossics, they always did the work to give complete sessions, always.

Harps are bizarre enough as is...the pedals. Harps and pedal steels are two instruments that I think I could never even begin to fathom how to play. Too many moving parts, too much physical coordination, I'm not a graceful guy.

Solar is, like, hey, you missed it on Dime? Don't worry, we didn't. Gotta also say that Ace + Bear Family are full legit in my estimation. They're not just cheap business cranking out products for saps, they know the music and show respect to the potential consumer.

Regarding harps...I learned something last night from the program notes at the DSO, regarding Debussy's Sacred & Profane Dances, which was on the show that evening. Turns out that this piece was commissioned by a manufacturer to showcase their new type of harp, a chromatic harp. Apparently the instrument was quickly deemed impractical, almost unplayable, and soon became obsolete. Looking at it, one is not surprised! What's perhaps even more interesting is the response by a competing manufacturer of the by-today's-standards normal pedaled harp - the commissioned Maurice Ravel to wire an "answer record" so to speak. Format wars, speed wars, it's not new! More about that here: http://www.interlude.hk/front/harp-headaches/

Eddie Sauter was a contributor to that band's book, so I guess he comes by the whole xylophone thing honestly. It sitll kinda bugs me to hear that instrument in this context, guess I'k still getting the PTSD from "Perry Como's Hot Diggety" that was a regular in my hose at a too young age. As for Finegan, I remain thankful to Organissimo's Own, Larry Kart, for hipping the population hereabouts to the RCA CD of Tommy Dorsey's post-WWII band playing finigan's charts. and about the same time, Sauter was writing for Ray McKinley(!)...something else someboady here tipped be off to, last century, maybe? For me, these cahrts are all quite "progressive" and more importantly, they are coherent works from start to finish. And that's what I'm missing from a lot of the S-F stuff I'm hearing, that lack of focus, too often it seems...I've already used "cler" beofre, so let's get a little less (or more?) understanding and call it "gimmicky". It's distracting to me, not exciting. OTOH, I actually like "Doodletown Fifers". It states its purpose from jump, and keeps that purpose all the way through. I just gotta wonder how much of S-F was a calculated commercial angle, they had both been writing their asses off for at least a decade and probably weren't getting recognition commiserate with their talents. So maybe, hey, let's put our things together, gimmick it up a little bit and see how it goes? Or maybe they got bit by the Kenton "More Is More" bug. I got no problem with that, really, these were two ginormously gifted cats and lord knows, the early 50s were a dark time to be anywhere in the realm of "popular music"..fast forward another bunch of years to Frank Zappa saying that thing about most people wouldn't recognize real music if it bit them in the ass, and oh btw, meet Ruth Underwood, we gave you "Wowie Zowie", don't say we didn't want you. Xylophone again. I just wonder...

DSO last night: JOHN ADAMS CONDUCTS JOHN ADAMS JOHN ADAMS CONDUCTS LEILA JOSEFOWICZ VIOLIN EMILY LEVIN HARP JOHN ADAMS Short Ride in a Fast Machine JOHN ADAMS Violin Concerto DEBUSSY Sacred & Profane Dances RESPIGHI Roman Festivals (Feste romane) Haven't been following John Adams too much, have yet to engage with contemporary opera, and still need convincing about post-Glass-ian "minimalist" ethos. The opener made a mild case to persuade, but it was the vilion concerto that blew the door wide open. My god what a piece itself + Leila Josefowicz was not going to let it go with anything less than a searing necessity of being there and doing this. First time hearing a harp in front of an orchestra like this and it not either sitting in the back or sitting alone at a wedding reception or cocktail party. Wow, so much sound, pure sound, strong sound. And Debussy...great music played exceptionally well. I'd take more of this experience with no reservation. Respighi was loud (duh), but the same piece was played here in 2016 with a different conductor, and I don't recall it sounding like this. Maybe it was Adam's conducting, maybe it was just the context of the lingering energies of the first half, but it seemed that the emphasis here was not on the showy "folk" flavors that are in there (that's what the 2016 guy did) but instead on the surging repetitive undercurrents that run though much of the pievce. Sorta seemed like Adams was connecting the dots, finding proton-minimilist ingredients in there. It worked, and splendidly. The whole concert had a bracing, gripping quality to it that in my experience has been absent in most of the DSO shows this season as they await the beginning of the Fabio Luisi tenure. To be honest, I was not super motivated to go out last night, but hey, we had already paid for it, it was in the season package, and Leila Josefowicz, needed to hear her, so, hey, wtf not, right? The weather was ok and we hadn't done a whole lot during the day. Turned out to be one helluva gig, the kind you never want to miss. Carpe diem!

If Zoot ever got drunk AND tripped, do you think that was what Al might have looked like to him when it all peaked together?

I'm looking forward to these, outside of my regular musical diets all, with the possible exception of the Roger Sessions record, but even that one, 5 bucks for a cover like this? Hell yeah!

So you don't read every thread that pops up here? What, you got a life or something?

This would be the one to look for: