JSngry

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?

The man who was forever searching for the one-armed microphone, correct?

I have it on my RCA multi-LP folio of Glenn ?Miller airshots.

My guess of Freddie Hubbard was not about the trumpeter....

Please reconsider my response to # 17?

Why I'm piqued to see how much "serious" stuff there is, is because I bought a hat record a few years ago that had "classical" compositions by a.o., Stephen Wolpe, John Carisi, and this nice saxophone quartet by Eddie Sauter. so...any S-F material you can bring to this table that is coming from this place, I want to hear it, please!

For 12 bucks, hey, I'll check it out. Still no Science Fiction, though... https://www.amazon.com/Inside-Sound-Sauter-Finegan-Orchestra/dp/B000X1L85C/ref=pd_sbs_15_4?_encoding=UTF8&pd_rd_i=B000X1L85C&pd_rd_r=200f186f-2232-11e9-944e-278ce23a35b5&pd_rd_w=RvgTN&pd_rd_wg=irlpM&pf_rd_p=588939de-d3f8-42f1-a3d8-d556eae5797d&pf_rd_r=DSWA3Z4CJJ6DJQFY5BPE&psc=1&refRID=DSWA3Z4CJJ6DJQFY5BPE

Yes, please!

http://adale.org/Discographies/V2/V2EddieBeal.html

Are all the other volumes of this series of equal audio quality? Same guy did them all, correct, not Davies but somebody who paid attention, right?

Ok, time to lavarito mi tonetta (con plamasa!) TRACK ONE - Can't jump that high, sorry. TRACK TWO - Oh geez, this is how a lot of people think Buddy Rich plays. And if this is him, then I guess he did, this time. But The Last Blues Album Vol. 1, this ain't. I like the tenor player well enough, though. TRACK THREE - Sal Nistico was a baaaaad motherfucker. If you don't believe me, ask Rita! HELL YEAH. TRACK FOUR - You know what would be hip as shit? If the Negro League(s) had been the mainstream of American culture, made all the money and had all the attention. And they had bigass stadiums with organs that played like this between every inning and if THIS was the Seventh Inning Stretch song, that would be hip as shit, almost as hip as this record. But that didn't happen. Or did it? Maybe that is what really happened, and I've been living in somebody's bad dream who fell asleep out in the bleachers after one too many beer, feel asleep during the Seventh Inning Stretch, poor bastard, and I'm living HIS dream. That would explain a lot of things. TRACK FIVE - abipbopboopiedoopydippydoppiedoo TRACK SIX - I guess I do? Maybe not? As they used to (allegedly) tell Leonard, *** for the band, all the stars in the world for the trumpet player. (or is that a coronet?) TRACK SEVEN - sugar's sweet and so is this, as long as it's the tenor and/or pianist. The pianist sounds like one of those cagey Earl Hines motherfuckers, you don't play poker with them, And the tenor player is brining it for real Hawk-style with no fake. Just as the painist is almost Earl Hines, the tenor is almost Buddy Tate. But that shit is real as far as I can hear, , so yeah, that'll work. Guy Lafitte, maybe? And if you want to get a side bet going on Count The Quotes, I'll play, just as long it's not poker, not with this Earl Hinesy cat sitting there with his third hand tied behind your back. I know how they do. TRACK EIGHT - Very nice, not so easy, but definitely living! TRACK NINE - Am I sure about if I like this one? No sir, I am not. It sounds like Almost Clark Terry, and then definitely "Too Damn" Long on trombone. And the bass intonation is just enough to disqualify any sense of real comfort. I hope it's "local", that would make it ok-ish enough. TRACK TEN - I like the bass solo! Somebody tell Sarge that I can't pay attention and be at ease at the same time...oh, ok, take it to the governor, then. He always says the right thing. Case in point... TRACK ELEVEN - Hmmm....I'd have preferred the RVG piano - and studio - sound here. TRACK TWELVE - That's more like it! TRACK THIRTEEN - At least it's not Venezuela...Google leads me to find that this is some guy named Ben Markley who has a big band that has a trombonist named Paul McKee. So there! TRACK FOURTEEN - Oh, a funk blues with a Lee Morgan whole-tone twist! Kenny Garrett on alto? I dig how he's got Maceo and Gary Bartz in his wallet as well as all the other stuff. What did Milee call him, Sonny Stitt's dirty drawers. I'm thinking this is earlier rather than later because at some point it seems like he just wanted to "burn", and ok, when your drawers get too dirty, maybe you do have to burn them, but it shouldn't be let to go that far? Anyway...this works. Is that Grover? Wow.... TRACK FIFTEEN - Mr. Magic. Really?!?!?!?! You know, I have played this tune on I don't know how many gigs since...1975? I know it's older than that but, jsut sayin' it was still a hit as far as playing it in clubs. And there's a lot of clubs where it still is. There's a reason for that, that shit copped a groove, found the pocket, and when it went to that transition, that was the right place to go, Ralph McDonald tune, right? Bob James arrangement (for Grover) on a Creed Taylor label. I like this version, they get what the song is about/for. I'm not even going to try to guess who this might be, but I will show a lot of love for players who know enough about what the functionality of the environment is and let that be there focus...and just as I say that, the tenor player gets all ego-y, but then somebody, hopefully the voice inside htier own head, gets them out of there. This is really good. But, just let me tell you - if you go into any city with a good sized black population that still has live music, you will find bands that still play this song and play it at least this well. This is one of those songs that everybody is in on. Beware! TRACK SIXTEEN - That's sounds like Bnois King, that's how he played, jazz vocabulary with a backwood blues twang/accent. But there's other people who play like that, each in their own way. And I love the organist, got all them knowledges speaking through the blues. When I say it could be anybody, I don't mean that as a dismissal, I mean it as an expression of humility realizing how deep, wide, and long this shit has run through the peoples to whom it has run through. TRACK SEVENTEEN - That's probably Freddy Hubbard, or somebody influenced by him. No idea who the trumpeter is. Is this really your last BFT? Say it ain't so! But lest you go Garbo instead of Judd, let me say this - your "zone" might appear "narrow" to those who don't spend time in your loop, but I swear - you keep finding stuff that I've never heard of within that zone that is almost always really damn good, and, quite often enough, great. You are a true connoisseur - you know what you like, why you like it, and dammit, you know the finest gradients of it. These BFTs of yours have been a public sharing of your findings, and I pity the public who will no longer have the privilege of checking them out. No, I don't like everything, far from it. But dude - if it were anybody else, this well would have been drained dry years ago. But you keep bringing fresh water out of it. As I like to say about other things, that shit don't happen by accident or by magic. It takes work, perseverance, and skill. So....thank you, and may you still persist. May you always persist!

Old White Guys are what keeps the game alive, don't piss them off!

Oh good, ANOTHER collusion case to look forward to!

That's some deep music, scary at times, gotta learn why the scare and then rise up to it rather than cower from it. Still working on that here, some days are better than others, but, you know, grown folks evolution music, it's life, embrace it. It won't stop embracing back. NP, nothing nearly that life-deepening, but impulse! got the sound of that Chico/Stinson hook up in a really nice way, the details, there. I do think that if you're a drummer and just want to check out sound, the pure sound of a kit, this is one guy that needs to be absorbed (or at least checked out in some detail). That specific a kit sound doesn't happen by magic or by accident. If nothing else, it can make you aware that you can DO things with a drum kit, not just sit town and start playing, no, take siome time, play with tunings, fuck with cymbals, learn that percussions have pitch and overtones (and all that comes with that). PAY ATTENTION TO YOUR SOUND. And sure, Stinson gave him that to play off of, but, you know, that shit works both ways, a hookup like that.

Are we ready for flat-brims in the HOF?

http://www.bsnpubs.com/rca/rca/34%20-%20LJM%20Jazz%20Series.pdf

That's a DAMN good record! And also a should-be-canonical B-3 organrecord.

Also - note the rhythm section and the date. That trio was in peak form and working aplenty. Here, they do the same arrangement of Love Story that they do on Breakthrough, and it hits just as good a pocket here as it does there. And Etta's in great form, maybe not as locked-in as she would be once her comeback(?) gained traction a few years later, but that's a good thing to hear, imo. Not that there's anything wrong with the Muse/etc "formula", just that it's a reminder that she got there by choice, not out of necessity. But hell, I like her no matter what.

He shoots, he scores!

It's good!

All the more reason to pay attention to the film, imo.

This new Jazz Government will prevent that from ever happening again. By any means necessary. You don't need the bullet when you got the ballot, but it's always good to have a Plan B (and that does not stand for Branford). And truthfully, I'm not sure that S-F funding will be forthcoming. But here's your chance to make a proposal on the strengths, or the lack thereof, of the merits themselves.

I can address that last one in a few words: The business of American entertainment culture has always been about making white Americans feel that they are ultimately going to be safe. Not convinced that it's a conspiracy, but am pretty sure that it's a collective consciousness at work. Conservatives push fear, liberals push reconciliation, but implicit in both approaches is that it's our world in which to decide how it's going to go. The safety of ownership. If you want to build that out to matters like who's in the "Rock & Roll Hall Of Fame" and who's not, feel free. Soft Machine (for example) will never in there becuase what do they do to make White Americans feel safe about Black People? This should be common knowledge by now, but the fact that it keeps being news is simply proof that the system is working as planned.