JSngry

KDs HAR-YOU date is very strong, even if it seems to be sourced from a tape badly needing repair/pitch stabilization/etc. (or was the original record like this too?), The Condoli date is not essential in any way, but him an Stan Levey represent quite nicely.

Who owns the material now? Any one party? Or is it piecemeal? Or is it anybody?

An Ernie Royal session for Vogue, a Babs Gonzalez date for Manor, A Bennie Green set for Jubilee, a little Budd Johnson, and plenty of James Moody. What's not to like?

Community college should have something for you. That's how I started learning. Knew absolutely nothing. Still don't know very much, but knowing the most basic things makes it easier to then figure things out further on. Not everybody learns the same way, so it may be that a classroom setting, where you can ask questions about things in a book that don't really make sense, will be a better way for you personally to learn than tackling a book solo.

Gonna be in the car for the next few days:

This morning, not right now... then one side of

Joyce Bulifant with that black hair is not even slightly unattractive!

If you don't already have it, here's a Collectables 2-Fer with Midnight Walk + And Then Again that works really well. I had the former on LP (what a happy day that was, finding that one and A Caddy For Daddy AND Action - mint copies all - all in the same place on the same day and being able to talk the guy down from $25 each to $50 cash for all 3 because that was all I had and I was standing there right now ready to spend it in Longview, Texas, and his record show in Austin was more than a month off. It was all true, and it worked!), but I had been completely unaware of the other one until finding this CD years later. It's a great listen, and it's cheap!

I'll posit that the compositions (and the soloing, for that matter) on Passin' Thru, underneath the "slick veneer" has more in common with those records than it does anything resembling "bebop". And that's something that happened in a segment of 70s jazz that got dissed out of proportion to the reality (imo) - the "presentation" of the music changed, but the nuts and bolts of the music itself did not. If you go to playsome of this stuff and try to approach it like "commercial music"...good luck on that, because it's not going to work. The changes are too involved, the vamps need to hit a deeper pocket, just all kinds of things. You can take some of those things and reverse them back to "straight ahead" a helluva lot easier than you can forward them into "smooth" or whatever you want to call it. They're just not built like that.

I'm of the mind that the only real use for a 45 from that era is to experience the specific mix that was used to punch 'em up on jukeboxes and AM Radio. Doesn't sound like these are going to be that.

At this point, all I do is try not to drop them or handle them while or immediately after eating fried chicken. Even if you don't touch the plaing surface, good grease is hard to stop.

Same (named) label as Guy Lombrado. And they both used saxophone. Small world after all!

A name that for some reason immediately springs to mind is Jimmy Heath. The Gap Sealer was an excellent record form the early 70s, "modern" (if not "cutting edge"). Then he went back to relatively straight-ahead bebop, made a good (enough) record or two, and then got The Heath Brothers thing going, and oh btw - the first Heath Brothers record on Columbia is a GREAT record in terms of compositions, playing, and production. It seems to be dismissed by "the establishment" because of it's "commercial" touches (of which there are more than a few, but jeesuz - that's both beside the point while being exactly the point. I would invite anybody who's not emotionally bound to "style" to listen to the compositions on that record, and the playing that goes on therein. Those tunes are very nicely involved, details abound, and the playing is fully engaged. No halfassing going on, just a mellow sense of intent. This is a record full of expert music played by experts, yet very radio-friendly. All of that merits consideration, I should think. So, tow totally different Jimmy Heath records from within the 70s, each one strong within itself, and neither like the other, at least not superficially. But underneath the surface, they're both pure Jimmy Heath. That's hardly a 70's thing, but it seems to have been more present in the 70s for more people than usual, if only because what was considered a "commercially viable jazz record" in, say, 1977 was a helluva lot different than at anytime before, and possibly since. So many options....