JSngry

In my car it was, yeah. That and cheapass earbuds are my only trials to date, but yeah, no problem there.

RCA did a whole series like that. New Orleans was Al Hirt, Hollywood was Henry Mancini, I don't know who all else there was. But why was Sergio Franchi Red Seal? I thought he sang pop-type stuff, at least that's how I remember him from Ed Sullivan, which was about the only time I heard him?

I googled "han bennink jumpin' with symphony sid" and voila!

will this be #2? https://www.discogs.com/The-Joe-Van-Enkhuizen-Trio-Blues-Ahead/release/4348223

Yeah, now that we're getting to this level of archive (personal tapes, broadcasts, etc.), I'm happy to have lower expectations for "audio quality".

Started this in the car today, probably going to be in there all week. I think the words that come to mind with both sets are frisky, and one I've never really though about for this band before - limber. Makes me happy!

I was in either Disney World or Universal StudiosOrlando and there was some area of the park recreating SF wharfworld or whatever it was. The ambient music in the area was all Watters/Murphy or thereabouts until for some reason there was a crack in time & Brubeck/Desmond happened for a few minutes. And then it went back, went like it came. Didn't take me too long to realize that the park had partnered with Fantasy at some level. That was a fun thing to have happen!

Now see, yeah, that's an ungrateful fucker right there. We are getting urban coyotes where we live. If that cat did that to me, I'd drop a dime on its ass with the next coyote I saw so fast that it wouldn't be funny.

Did he just say "taste the feel of it"? Have you seen this?

Yeah, they were, but...The Sauter stuff from Goodman so often was pretty much not giving a damn about "jazz or not". It seems that he knew where it was, but he was quite comfortable leaving it alone if that was where the road went. I guess you could look at it as "dance band", but...not really. It was just a medium, this particular general instrumentation and rhythmic apparatus. And truthfully, I think I like Sauter best the less he thinks about "jazz". Finegan too, I like him best when he approaches things as "dance band/orchestra". He'll give you that beat, but is he really trying to make a "jazz statement", or is he instead seeing it all as a canvas/pallate to do HIS thing? Everybody's different, some people need a function to create the content, but these guys both seem like they don't need a function, they just needed a band. When they went ahead and rolled like that, that's when it seems it worked best (for me). But when they engaged with "functionality", eh, maybe not so much? And somewhere, somehow...I'm thinking that Gil Evans not "being there" in the "marketplace" for whatever reason for that space in the early-mid 1950s left a gap/vacuum in the "advanced writing" area of post-Big Band music. Funny, in retrospect, Gil got back out there how a lot of stuff kinda either stopped happening, lost relevance, or otherwise just went away, am I imagining that? Meanwhile, here, look at these guys, 1947!

I am predisposed to not linking the mallet/flute mix on top of a lead that's already there, or even as lead itself. But that's my problem. This tour is definitely useful, and I'm hearing more meat than I had expected, which had been my beef about what I knew of the band already. Namely, that there should be more substance than I had heard. I'd be leery of thinking as too much of any of this as "jazz", to me, it's more orchestral music at its best, gimmickpop at its worst, in between...cats gotta make their nut, right? Like I said, this is both enjoyable and useful, keep it up, please!

I think that explains everything. He's the clown prince of jazz when he wants to be, and this time he definitely wanted to be. I still don't like this cut, but the cat can play for real when he wants to. I have a late 60s bootleg of him playing with Sonny (Rollins) that is wonderful. And he's on Dolphy's Last Date as well. On this occasion, for whatever reason, he wanted to go there with it. I wish he hadn't, but this is not "how he plays", except when he wants to be that guy, in this case, that guy who thinks that halfass (or less) Buddy Rich is the way to go, and then we can all of us have a laugh about that. Well, almost all of us.

Han Bennick?

The moral of the story - don't knock wealthy industrialists, because when your kid sister gets trapped in an abandoned mineshaft, it is the industrialist himself who will provide the bulldozers and labor and doctors to get her out, as well as to fly his private cargo plane to take her to the hospital and save her life.

I'll take a cat over a squirrel anytime.

Good to see him stepping up/out/whichever way it is. I really appreciate his being able to answer questions as asked, The older I get, the more I appreciate that.

I first noticed Fred when they were having that big Dead/Not Dead/Dead Again?/Too Alive Now dramathon a year or so ago. Fred was the only one who had, kept, and led with a level head, no bullshit, not fidgety indecisiveness, just the facts. He became my New Mosaic Hero, and remains so unless and until.

DOH! Ellington Capital, for sure, even if with nothing even resembling a sense of urgency. Want it, eventually.

From the new Black Composers Series box. An interesting character, this guy. Among other things, including being a champion fencer, he may also have been a pain in Mozart's ass for which, if true, I should like to send him a thank-you note. https://www.independent.co.uk/arts-entertainment/classical/features/chevalier-de-saint-georges-the-man-who-got-under-mozarts-skin-a6859191.html

I expect to eventually pick up/fall into the Basie Roulettes, the Candid Otis Spann/Lightnin' Hopkins, the Decca Studio Recordings of Louis Armstrong and the All Stars, the Complete Aladdin Recordings of Charles Brown, Classic Capitol Jazz Sessions, the Complete Verve Johnny Hodges Small Group Sessions 1956-61, the Complete Roulette Sarah Vaughan Studio Sessions, + the forthcoming Bill Barron & Basie post-Roulette pre-Pablo sets. None of these I'm going out of the way or too far into the pocket for, with the possible exceptions of the Louis & the Hodges. They both got away from me before there was responsible cash on hand.

It's a Dr. Richard Kimble joke.

Fluffing means different things in different worlds, right? I'm thinking that the drummer on #2 might be somebody like Charlie Watts? Either that or some really REALLY old guy who's old enough to be long-dead by now.

Esquivel was the master of his own domain.

"Fred Pustay" <info@mosaicrecords.com>

from Fred, no less. That's encouraging! Fred Pustay, he has a picture on Google, hard at work on the job! More about Fred here: https://www.mylife.com/fred-pustay/e652021001148 Will Fred be empowered to engage in a Bill Barron conversation?