JSngry

but not bass playing...

Just, when you see the cat using the toilet, don't think your drunk, you're not.

Your first birthday since 2005, amazing!

Marshall Royal is quite visible in the Eddie Heywood segment. And there's the always creepy Harry the Hipster...

yeah, that one. i relly enjoyed it!

So, what else was left of the Commodore Mosaics? Not that it matters, this is not "jazz", but I gotta wonder what else.

An Ill Considered Christmas

$200 buys lunch for more than a week in these parts...

Because they (mostly) can. Lew Tabackin don't give a damn.And Snooky,,,

https://blogs.scientificamerican.com/observations/the-hippies-were-right-its-all-about-vibrations-man/ Note that this is theory, not proven science. But I'll be damned if I can see any way that it's outright false. And think about this anytime you willfully expose yourself to cheapened vibrations of any kind.

That would be my guess, although McCoy often also stated the early influence of Richie Powell, who in no way fits that description.

2145 - If anybody has 2142, look out. Having three two-digit multiples of seven within the space of a four-digit number itself that adds up to 3 x 3 (aka 9) is power I'd like to have for myself, thank you.

Is it me, or does that look like a Steeplechase cover? #notmeantasacompliment

Ok, that sounds like fun, the one has been clicked. Thanks for posting these infos.

His Showboat album on Time is a perhaps unlikely gem. Jimmy Heath, Kenny Drew, Jimmy Garrison, and Art Taylor, all in top form. I found both of his Time albums in the same store on the same day. I bought them both and was expecting Jazz Contemporary (w/Charles Davis & Steve Kuhn) to be the better of the two (and it is indeed a fine record), but damn, Showboat just hit that zone of extra good.

He did a solo or two on the record (Side 1 was minus the alto, Side 2 minus the tenor) and sounded pretty comfortable on the instrument. What was real fun was that in the "charts" for each tune, the solos were notated, so if you hear them on one side and wanted to play them on the other, there they were. Wilber's (he might have just had one, not sure, on a track called "Freemanition", a tribute to Bud Freeman) was/were easy to read, but Seldon Powell's, with their slippery bebop phrasing fully notated (more or less) were hard as hell, at least until the adjustment was made to use the ears more than the eyes. Really, between the charts and the bios and the explanations of all the various tunes, that was a wonderfully educational play-along record, much more impactful than a simple rhythm section laying out changes for you to fuck up at will without necessarily hearing anything wrong. If ever anybody would take the two sides of the record and perfectly sync them up so that we could hear the full section with all solos (it's the same takes on each side), I'd be in for a copy. I mean, jeeezis, look at that line up, how do they not make for a great section. And on different tunes, you'd have different parts to play. If you covered both sides, you'd have had experience reading lead alto, 2nd alto, plus 1st & 2nd tenor parts. No skating along playing ead all the way, it really gave you experience in navigating harmony parts and voicings, all that good stuff that you don't really learn any other way than by playing in a section. It's becoming an increasingly irrelevant skill, but I still really enjoy hearing a good section. Oh, the rhythm section was Dick Wellstood, George Duvivier, and Panama Francis. You could do worse...

his comping was/is totally compatible with anybody. I played with these guys too: But for real, the best educational experience was playing with these guys: Best section I've ever played with, ever.

Nat Pierce in for Hank Jones. I jammed with these guys regularly. No recordings, fortunately.

Just keep on keepin' on, GA. No harm has been or is being done.

Just because.

not yet, please...

Shitting is a crucially fundamental part of the macro ecosystem. I will do nothing to discourage it, unless it gets on me. Then, hey...