JSngry

If I was going to align him historically...Gene Lees, maybe?

Being "around it" (i.e. - several degrees of separation) to the extent that I have been is close enough for me. I'm sympathetic to the need for the hustle, but it's not for me, no. And I sometimes wonder how much of any of this self-imposed need to "be somebody" is rooted in a fear of the universe instead of a trust in it. Better (and more ancient) minds than mine have yet to answer that one with absolute certainty! I'll tell you what, though - Zev Feldman and others in his world, they ain't no Boris Rose, nor will they be, not if they keep going like this. That alone should make them at least a little humble when they're alone by themselves.

find a sucker somebody who doesn't keep in the loop, sell the lps, buy the cds, #quandary/what quandary?

The cat's gotta hustle. To the degree that turns him into a "hustler", well...not my world, if you know what I mean.

Well sure. But that's just the beginning, not the end. "Rules" are not the issue, but context matters, and even more than that, macro-reality, how does what you're doing fit in with the rest of the world, past present and future, and that's where it becomes a lifelong pursuit, both internally and externally. Just kicking out the jams, that's a quick fix, a cheap thrill, That's good for a revolt (and/or vandalism) but is any of this a revolt? Hardly. And even at that, revolts are easy, creating a revolution and then sustaining it meaningfully is hardass work. If the object of these young folk is to extend the tradition, they better think about that and just not think that inheriting the house is enough. You gotta keep it fresh and livable lest it become a gaudy birght shiny façade on the outside of a dusty wax museum on the inside. All front and no back ain't gonna cut it (like a dull knife).

So what are the missing 10 Columbia tracks? Are they studio (in which case this claim is false) or are they live (in which cse that's something I've never heard about), or is there maths off somewhere?

That was a big hit on Radio Disney. It sounded great on AM radio (yes, we got Radio Disney on AM!!!!), my daughter loved it.

bye...rip....much love....hard to say it...bye

another day, tabula rasa there's some flayva.

I'm telling you, Bill Barron is the Tina Brooks of the 21st Century! Regarding the Hi-Los, the only disc I could find that had all of the pre-Columbia material was a 2 CD set on Jasmine that was CEDAR-ed way more than halfway to death. That material alone is not enough for a Mosaic, and the Columbia stuff gets dicey as it goes along in terms of adventurousness, but dammit, they deserve better from somebody. Miles ahead of the competition. You gotta love a vocal group that could give Clare Fischer his head and not flinch. I mean, hello levitation! LITERALLY!!!!!!

There are labels that I gladly patronize on a "just because" basis, and Mosaic has been one of them. But at some point (maybe now?), I ask myself if this beefing up of the budget by buying sets "just becuase" (as I did with the Savoy set) is going to be rewarded by something I buy because I really want it. If they need to shift their customer base to stay in business, fine, so be it, live long and prosper. Fond memories and no regrets.

Him too!

I myself didn't mind the pianist. I did mind the singing. It was all "expressive" all front, no back. This shit is not easy. Bullying a song is not going to have a successful long-term effect, unless you find enough people who like that type of thing, which I suppose there are. But I don't like it, nosir, not one bit.

Paranoia strikes deep. Into your heart it will creep.

Latter day Sarah Vaughan was quite often, uh...extravagant. But it was always under control and had a plan. And knowing where and how she got there, ok. This, not so much of either, not that I can hear, anyway.

....with that mega-inviting Joe Dailey set!!!!!!

The more you like "that kind of thing", the more you'd like this kind of thing. It's a specialized taste, the whole Johnny Richards thing is. Overall, I think Myers is "valuable" in that he does get good information from a lot of people to whom their stories have not been paid a fuller attention. But Cadence used to do that, and maybe(?) better. And I sometimes sense (admittedly subjectively) the he possibly confuses the importance of his work with his own personal importance. I've read some of his record reviews and have not been in the least bit impressed. But maybe I'm wrong about that.

I'd like to think that he could have overlooked them too, but what's done is done.

When fandom turns into careerdom, that's when personal character is sure to get tested.

My favorite singers, regardless of genre, are the ones who "inhabit" the song, bring life to it and make it something you in return can go into yourself, Some do it by handling the words in a special way, some do it with the melody, some with enunciation, there's all kinds of ways to work a song with the voice...hell, there's all kinds of ways to work a voice, period. It's still the original instrument, and still the most flexible. But so many of this new generation of jazz singers (or singers in general, really), I don't here them engaging the song as much as I do them imposing themselves on it with no concern about whether or not the song is responding in kind. And keep in mind that I still think that "songs" as they have come to be known are essentially outmoded/obsolete means of meaningful contemporary musical communication. Maybe that's why the failure rate is so high, people are subconsciously trying to kill the fuckers off so something new will have space to grow, like a forest fire in the woods of tuneage. But still...it's painful to witness, even more painful to listen to.

Jeanne Lee, Betty Carter, Jimmy Scott...they (and others) are worth checking out, they stretch (and still do, even from beyond). But these kids today, they can get off my lawn if they're not going to mow it, edge it, and keep it weed-free and lusciously green. The old folks were like Elastic Man with a song. These youngsters, they're more like splatters for the sake of splattering. And about the hats and glasses...upon further review, it's not my rule for the 21st century, it's something I've always had, I guess...Ritchie Cole, Billy Taylor, nope, ain't having none of that here, then or now.

She sounds to me like Carmen McRae with the good parts filtered out merged with a mentally incapacitated Betty Carter. I guess that too is the in thing nowadays.

Two is more than one, but today is not yesterday: