JSngry

DOH - Dewey. Should have been obvious. DOH.

Is it July already? Is that why we're approaching 100 degrees out side? TRACK ONE - The Monk intro keeps getting referenced during the whole solo, nice touch. This is some for real stuff. Not the most invigorating bass solo, but it does no harm. Same with the drum fours I could swear I've heard this one before but not necessarily....Pianist has plenty of ideas. Not the "cleanest" playing ever, but this is better than anything like that. Excellent! TRACK TWO - OMG, I know this one like the back of my hand! Sonny & Elmo Hope (with a little KD in the background. "Silk 'N' Satin". Only his second LP for Prestige, but hardly his first recording. Don't get me started on how I love everything about this one, I'll not stop. A lesser mortal would have been content to just play this way for the duration, but Sonny Rolins is not a lesser mortal. TRACK THREE - No idea who, but this is nice. Easy-ish riff head be a demonic harmoniztion underneath! Everybody's top-shelf. Five stars, Leonar! TACK FOUR - Head sounds really familiar...Soprano reminds me of Pony Poindexter. Can't comment past that. It's good, but nothing about the world would be different if it had never been made. That's true of a lot of good things. Is that Jerome Richardson? I don't know. TRACK FIVE - Zoot Sims, "A Time For Love". I'm guessing this is a Pablo side, almost has to be. Zoot is one of those guys who never really changed, but he grew deeper in his expression using the same tools he always had. The opposite of Sonny, two different approaches to life, each valid. There is no one "right way". This is beautiful. TRACK SIX - California? First choice would be Hampton Hawes? Nice enough. TRACK SEVEN - That's Bud, on Blue Note, I forget which one. Bud was in good form for that one (and most of the 50s Blue Notes, actually), playing at times like a salsero. It's interesting to hear him deal with no changes, just a montuno-like vamp. He is not thrown off his game one bit. Bud gets ALL them stars. TRACK EIGHT - I know the chart, it's a Thad thing, but not sure I recognize the band. Gorgeous writing, but I like a band with more bite. You can be mellow and still bite. But that writing....simply gorgeous, TRACK NINE - Compared to What? (Eu)Gene Daniels, and of course it's off of Bobby's NOW! Hello to Harold Land, somebody who did not stand still, kept evolving into new concepts. This is a wonderful album, the lyrics of this one aside (kinda "sensitive" to me, but of their tim0. And (Eu)Gene doee a hundred pounds of yodelling! TRACK TEN - Glad to hear the verse. Good voice, but a bit mannered for my taste. Not sure that the actual song holds up to this groove, but I will say that such things are personal choices, and sehe certainly sounds committed to this one. Whoever this is has a strong enough voice to sing with a strong big band, and that's a fullest compliment. But this version of this song only does just a little for me. Sounds like the lyrics are secondary. TRACK ELEVEN - That's almost either Ra or a strong tribute to him. No idea, because I thought I had all Chicago-era Ra, and this is not that. But ok, not that piano solo is not Ra, not enough layers of reality going on LOL. And that's not Gilmore. But is it Pat Patrick on bari? I guess not? Ok, whatever this record is, I like it. And a longgggg fade out on the cymbal! TRACK TWELVE - Not "Ralph's New Blues"? No. Gots the feel of something off Hot Line...Curson/Barron live? Or Don Cherry? Damn that tenor player has a distinctive moan...so distinctive that I can't call the name LOL. Ibrahim? TRACK THIRTEEN - Dick Griffin, yeah. Hip Populist Jazz. His records were just so much fun. You could listen, you could party, you could to both. And there's Gary Bartz. Closing on a strong note here! Muchas gracia, Amigo! Stay air-conditioned!

I'd go for a similarly-priced Herbie set. I bought a reasonably-priced set a looong time ago only to find out that the spine had severe sun-fading. Didn't pursue the matter because the price was good and the rest of the set was flawless, but....

Nobody's mentioned Sam Rivers yet. That was Tony's recruit, and Miles was just not having it LOL. But that shows you the type of energy that Tony felt was necessary going forth, and Miles was not going to let Tony go so early into that game!

Hearing is Believing.

Agreed. Even though we'd be talking about two totally different rhythm sections in that comparison. I think the real catalyst was Tony. Tony split that particular atom and everything else followed from that.

Was that 1 or 2 that she's reviewing?

He filled a need and initially was welcome. Miles heard the trio misxing it up behind him and said, hey, why don't you do that with me? They said, oh, you want that? Ok! By the time it was over, I've heard that Herbie and Tony were grumbling about Coleman not pushing anything past what he did. Apparently Miles agreed, because when Wayne came available, Miles snatched him right up! I enjoy the band with George, but it is very pleasant, but just a little predictable. That's not a dis on George either, just...band dynamics.

Coleman filled his role, He played choruses, Overall, I don't think his role was either constrained or expanded.

Did Don Schlitten use that cover as a model for his Xanadu Gold series? Sure looks like it?

The movie and my enjoyment of it repulsed her. In real time. There was nobody else.

Started out holding hands, but she was pulled as far away from me as possible by the time it was over

Mini Millie Creeler - Throw ' Em Stuff They Can't Hit And Then Let Them Hit It!!!

Elvinella Pitch - Slower And Drier!!!

You can't go wrong with Max. Add in KD, Booker Little, Hank, Clifford Jordan, Sonny, The Turrentine brothers, etcetcetc. Solid Solid Solid

This!

It gives insight (for me) into how that edition of the Herd could handle being booked into a Black club (and I'm sure they occasionally did, one-nighters and dance gigs being what they were). Certainly not "Black" themselves, but they got the flayvah and don't at all have an unfamiliar/uncomfortable vibe. And if the club had a B-3 as house equipment, hey...Nat Pierce could deal with that.

It reminded me of one of the acid trips I had taken, in a good way. I took a date to see it, and that was a one-and-done. Not even food afterward. Nope. Straight home.

After the previous days' doses of Beethoven, it took me 24+ hours to be able to play the Dvorak more than a few minutes without making myself take it off. It just seemed so light, so simple so....silly. But I know better, so I did other things before putting it back on. And then the palate was about 97% clear. Close enough. Of course, it's a delightful piece, but I think another group might be more temperamentally suited for it. I have a few, so I'll go back at some point to listen to the different interpretations. The Wolfe piece, otoh, could be subtitled "Fun With Harmony", for the way it keeps slipping around without actually going off the rails. I know Wolfe for his songs, but if this is any indication, more research would be a good thing! Check it out:

That's a good record!

Horenstein 🤙