JSngry

Haven't heard of him (yet!), but have known a few people who did/do "sound installations". Bob Belden was doing some of it before he got sick. Rod Stasick is another. Indeed, it's an interesting concept and a different esthetic.

Are that George Washington AND Coleman Hawkins in the audience?

IF, yeah! Like Coliseum, that was a UK band whose records I couldn't really find in my part of the world. But I did find one called Waterfall(?) in a cutout bin and really enjoyed it. It was on Capital. Your comment about groupies...somewhere I read some big name rock guy saying that the idea of some trombone player with Blood Sweat & Tears leaving a gig in a fur coat and groupies made him throw up. Ordinarily, I'd say get over it, but if it was Dick Halligan, I kinda get it on a visceral level.

Oh yeah, electric Miles was very much in the mix. But it didn't start getting really "noisy" from my pov) until On The Corner. By then, I was fully committed! I do have a funny memory of the radio...was listening to the underground FM station once and they did this weird seamless segueing back and forth between side one of Jack Johnson and "Open Up Wide", the opening track from the debut Chase album. I mean, seamless. So, the back announce Miles, but not Chase. So, you know to the record store, buy JJ, come home and wait, where's all the trumpet lava? Then a buddy grabs the Chase album for totally different reasons, and oh, THERE it is. What was cool about that was hearing two totally different records by two totally different bands and having no real reason yet to think that it couldn't all be the same music by the same people. You'd not want to stay that stupid, of course, but as far as stooped, yeah, it was kinda cool.

Can't stress enough how much the whole "psychedelic" thing was still in the air in the early 70s, not as a pop culture fad, but just the concept of "trippy" and "mind bending" and "expanded consciousness", etcetcetc being something to engage in in all aspects of life, especially music. Especially music. Even as the popular culture started trending softer, the psychedelic ethos did do leave all at once. There were still plenty of people tripping all through the 70s and exploring accordingly. And to that end, it is impossible to overstate the importance of Hendrix as yet another "gateway" music into then-newer form of jazz. Younger people who start off in a post-Hendrix world might not be able to grasp how truly new the Experience albums were in terms of sound and texture. Again, although personal growth yields to a greater discernment of the differences, the first hearing of Ayler, in my case, was very much a EUREKA! moment - here was a tenor playing making the same sounds and textures as Jimi Hendrix! The boundaries had been destroyed! ONWARD! Of course, no, it's not that simple, then or now. But I didn't know that at the beginning, and the still-important thing is that the path was made open. Never mind if it split at some point, it was too late by then, the road had been taken, the realities embraced.

Yeah, in the early 70s, Beefheart & Zappa had records in the stores and were getting press, somevariant of "wonderfully weird" or something like that, little actual musical understanding, just the vibe that it was "different".So if you gravitated towards "that kind of thing", it wasn't hard. I had the first 3 Mothers albums virtually memorized by the time I even thought about jazz. And a buddy of mine had gotten Trout Mask and Decals shortly thereafter. Between Zappa & Beefheart, it all fit together with the New Jazz Sounds Of Today that were also being discovered. Really, when you're young, it's a lot easier to embrace the overlaps than it is to discern the differences.

Couldn't find a picture.

I have no idea, other than that I remember deciding one day that it was time to start buying jazz records instead of rock. The first two were a Brubeck thing on Crown, and then a Capitol Douphonic packging of Stan Kenton - Artistry In Rhythm. The first I bought because it was at the Firestone store in town, the second because I knew nothing about Kenton's chronology ant saw all these "Artistry In..." things and thought it was going to be really out there. The joke was on me. But I gboutght those records in the space of, like, two weeks, and then it was just gobble everything up. Everything. Cutout bins were a gift from god, I kid you not. I know that among 100 (which took about a year) were Transition, Mamma Too Tight, Burnt Weenie Sandwich, The Inner Mounting Flame, and god knows what else. And I found two (!) FM stations ourt of Dallas that had jaz - one was an "underground" FM station that riotuinely played Ayler, Cecil, and that stuff, the other was an R$B station that went jazz from 10-5AM. And then the NPR station in Dallas went on the air, and they had jazz, but it was a lot of Donald Byrd/Bobbi Humphrey stuff. But jsut mostly, not always. It was a rich time for young people who wanted to get into music, period. If you literally just kept you ears open, and your mind open to what you might hear from anybody, you could catch almost literally anything. The radio was wide open, the integration thing was going on (SO much optimism in the air, then, and a band like EW&F could not have broken out and through like they did at no other time in American History) there was literally no excuse for not hearing too much of anything other than you jsut hadn't found where it was yet. And the new albums of the time, all the "jazz-rock" which is what it was before "fusion" finally began to crystallize, you could hear all sorts of ideas, good and bad, in the course of a single record...no, the notion of being put off by skronky jazz by hearing it before I knew what "real" jazz was, that jsut does not apply to my experience. Hell - THIS was on the radio! Daily! Hourly! If you knew where THAT station was... This was NOT on the radio, but it was on Columbia and was easy to find. Hello "electronic music" past Switched-On Bach: Just saying - it was a window of opportunity for "normal" people to be challenged and not automatically feel threatened. Aggressive/noise/whatever, it was totally acceptable back then. Not Top 40 acceptable, but, you know, you could represent for this side and not be totally out of step. That came a bit later as metal started happening and "power" was confused/conflated with "substance".

Gonna go out on a limb on #2 and say Chet Baker w/Phil Urso? Some tenor player that's mostly Mobley except when he's not, and those are pretty interesting moments. Another guess would be KD, but I think I know his records, and I don't recognize this one.

yeah, that works!

I've noticed that the grooves aren't on the CDs like they were on the LPs, is that what you're talking about?

If you got exposure to it when I did (ca. 1970-71) anything "noisy" sounded enough like Hendrix or, sometimes, Zappa and/or Beefheart, to whet the appetite. Ayler fit, Shepp fit, late Trane fit, pretty sure Brotzmann would have fit, if his records had been available where I was when I was. The older stuff was great too, it was a new experience as well, but not as immediately familiar as the "new thing". It was great to hear it all more or less at once, but my goal as a freshman in high scool was to play tenor like Hendrix. So, Ayler, and say, Transition was like WHOA, this is already being done, it's going on now, ONWARD! These kids today, I don't know. And the kids before them, I really don't know.

Hmmm...not really accurate, Russell & Dial stayed active for a few more years, but with then-contemporary classical music. https://www.discogs.com/label/50041-Dial-Records-3

It was in the Clifford Jordan Mosaic.

Ok, but I tried on both Saturday night. And not late, regular night time. But if he got a new code, let’s go!

I mean, I hope it was just a few people, in which case, they owe me nothing, if anything, I owe them. But otoh, they're too young to start getting flaky like Mosaic keeps trying to do, you know, now you see it, then you don't, hey, don't blame us, this is all OVERWHELMING and shit like that. But yeah, I do need to give them some money, and 30% off means...30% off. right? The math does itself so I can do something else. Modern!

I wonder if everybody couldn't make it work, and if they will try it again to say sorry 'bout that...

I think the Wayne/Newport story from the 50s had to do with Maynard & Lee Morgan & Blakey and the transpirations thereof? And running over a hill or something like that?

12 is about the age where Grace Kelley videos might start to have an effect. Not records, and hopefully not "musically", but, you know, this shit is more than old and/or dead people in black and white videos, and ok, maybe a band nerd can have a girfriend, and maybe I SHOULD learn to dance!. Ends, not means. Although, you might need to buy headphones to go with it. Apparently you have to wear those to hear her? I almost hate to say this, but I don't hate that.

https://www.amazon.com/Bach-Cello-Suites-Johann-Sebastian/dp/B0000CG8EF If you don't have it, get one for yourself as well! Same for this: https://www.amazon.com/Solo-Alisa-Weilerstein/dp/B00MYEANIO/ref=sr_1_3?s=music&ie=UTF8&qid=1543257908&sr=1-3&keywords=alisa+weilerstein

From 1957? Do they go back that far there? And if Granz was responsible for the original taping, would they have them? Just mentioning Granz because, again, 1957 was the year that he was very engaged in recording @ the festival. Another thought - was VOA recording @ Newport then?

If Horace was recorded at Newport in 1957, it would almost have certainly been done by/through Norman Granz, no?

More power to them if they do. I like it when it looks like people are still doing the work to keep your business rather than just sliding along on reputation and past glories! otoh, it might just be a coincidence. But if it is, it's a happy one!