ghost of miles

The live versions on the bonus disc are wonderful, and great bonus studio tracks as well (I bought various-artist comp LPs back in the day just to get their versions of "Within You Without You" and Neil Young's "Computer Age"):

Maybe those J.J. Johnson/Al Cohn "Birdlanders" dates, which also included Milt Jackson? I'm sure you'll get many more responses, but that was the first one that popped into my head. Interesting topic!

We re-aired ECM: Birth of a Label this past week, and it remains archived for online listening.

Completely agree with you, Dmitry--one of my favorite jazz movies for sure. I can't remember if I read the book or watched the movie first, but both are excellent.

I think Squire in particular felt that “One Love,” their 1990 single that followed “Fools Gold,”’ was them beginning to hack out a dance sound and that they needed to try something different. I think many Roses fans wish they had continued in that vein, and they might have if not for the Silvertone court battle that contributed to their creative derailment. The first album is a luminous masterpiece, no doubt, and the other material from that era gathered on Turns Into Stone is just as transcendental. Second Coming disappointed me too to some degree when it first came out, but it’s really proved to be a grower over the years. On a shoegaze bender tonight:

Must be my week for revisiting underrated (IMO) second albums:

U.S. nearing 200,000 new cases a day and will probably pass a death count of 300,000 by the end of the year.

It’s a proverbial “underrated” album IMO, very ambitious and largely successful in its attempt (led primarily by John Squire, the band’s guitarist) to take the band’s sound in a heavier blues-rock direction—though “Ten Storey Love Song” and “How Do You Sleep” are definitely in the vein of the first album. I love just about everything they recorded from 1987 through Second Coming. I also got to see them in Manchester in 2016, while staying at board member BillF’s house! (An absolutely delightful visit and host... among other things, Bill gave me and my girlfriend a guided tour of the city center.)

Sounds as if Maynard helped spark Leary’s initial trip, so to speak, into the realm of LSD: ”One such individual of indeterminate occupation was Michael Hollingshead who came to see Leary from England, toting a mayonnaise jar of LSD—enough for 10,000 doses. Having already initiated jazz trumpeter Maynard Ferguson and his wife, Hollingshead and the new converts turned up at Leary’s house. Seeing the look on Ferguson’s face, Leary tried some acid and became another instant convert. LSD now became the focus of his psychedelic research.” From Harry Shapiro’s Waiting For The Man: The Story Of Drugs And Popular Music Must... eschew... “high notes” puns...

Revisiting another excellent label-based box set from the Fantasy era:

One more go-around this past week for Charles McPherson’s Post-Bird Bop.

On disc 4 tonight. What a fantastic set of music. Bummer that Mosaic was never able to do a 1960s Hodges collection.

The recording that Larry posted is the longer, alternative take, and is indeed the one used on that Jasmine collection (which I picked up recently). The originally-issued version also features excellent playing by Armstrong, but it’s about a minute shorter:

Jodi Doering, South Dakota nurse, on Twitter: “I have a night off from the hospital. As I’m on my couch with my dog I can’t help but think of the Covid patients the last few days. The ones that stick out are those who still don’t believe the virus is real. The ones who scream at you for a magic medicine and that Joe Biden is going to ruin the USA. All while gasping for breath on 100% Vapotherm. They tell you there must be another reason they are sick. They call you names and ask why you have to wear all that ‘stuff’ because they don’t have COViD because it’s not real. Yes. This really happens. I can’t stop thinking about it. These people really think this isn’t going to happen to them. And then they stop yelling at you when they get intubated. It’s like a fucking horror movie that never ends. There’s no credits that roll. You just go back and do it all over again.” Jodi Doering on Twitter

I think one source was Otto Friedrich’s City Of Nets (I just pulled it off the shelf and found the relevant section on pg 231-33), but I’m pretty sure that I also read about it in one of the Chandler bios. The Wikipedia entry for the film makes a brief allusion to Chandler’s original intended ending and why he had to change it.

The peekaboo!

Chander was infamously pressured to change the identity of the murderer. I don't want to give away any spoilers for those who've never watched it; it's a classic noir, but the first time I saw it the reveal struck me as weird and forced. Didn't read the account of the script change & reasons behind it till years later.

An old favorite that I haven’t listened to in a long time:

Ricky Riccardi has high praise for this session in his new Louis book.