JSngry

Only in the quote. But still....

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

Yeah, they could have. But that's not their style. They're pretty saavy/shrewd about their "brand", their blurbs are all of a piece, have a distinctive style. I mean, here's a thread about them, right? I mean, there's used record stores everywhere, and there's websites everywhere. But when you say the name "Dusty Groove", you know that it's a whole "experience". I'd say they know exactly what they're doing. I think that their use of the word "little" is meant to convey that the record in question is not, by intent or by result, a "must have all-time greatest record of all time". It's jsut a "______ little" session/record/lunch/whatever. And "soulful" usually indicates that whatever else it might or might not be, it's got an element of non-hungup-sqaure-straightness to at least some degree. It'll groove at some level, even if it is a highly compromised in every other way session, it's not going to be totally square.

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

Art Blakey — Hold On, I'm Coming ... LP 7.99 A soulful little record (nothing special apart from being "soulful") from Art Blakey – and very different than his Blue Note sessions (going for either market share or avant cred, in this case the former)! The album's got a tight soul jazz groove – shorter numbers, fuller backings, and an overall sound that's almost more like Cadet Records at the time (forget about blowing, this one is aimed at radio and jukebox and jazz-casual pop listeners). Backings are handled by Melba Liston or Tom McIntosh, and tracks are shorter than usual – but still filled with firey work by from the players – who include Freddie Hubbard and Chuck Mangione on trumpet, Tom McIntosh and Garnett Brown on trombone, Gary Bartz on alto, Frank Mitchell on tenor, Grant Green on guitar, John Hicks on piano, and Malcolm Bass on organ (you'll want this one as a discography filler, not for the compelling gutsy improvisations). A number of tracks have a conga drum groove – very unusual for the average Blakey album (we're warning you!) – and the tracks are a mix of soul jazz originals and pop covers, like "Secret Agent Man", "Sakeena", "Slowly But Surely", "Monday, Monday", and "Hold On, I'm Coming" (don't say we didn't warn you!). © 1996-2018, Dusty Groove, Inc. Now, if you don't know about Art Blakey, hey, they'll take your money. But if you do, they're letting you know that it's...different, and then telling you how - and you should know what you're getting (into) - but by all means, get it?!?!?!? Benny Golson Turning Point An incredible, and oft-overlooked album from the great Benny Golson – and one of the few early albums that really point the way to his huge run of work for decades to come! The style here is a bit looser, and more open than some of Golson's previous albums – less of a focus on arrangements, and more on the spontaneous interplay between his tenor and the crack rhythm section – which features Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – a dream lineup who really make the record sparkle. But the real star of the show is Golson – who's hitting this raspy, soulful tone he never had before – much freer of soul jazz formalities, and with a modern edge that's wonderful – as you'll hear on titles that include "Alone Together", "Turning Point", "Stella By Starlight", and "Dear Kathy". © 1996-2018, Dusty Groove, Inc. Benny Golson Free Without a doubt, Benny Golson is one of the most underrated tenorists of his generation – a player with a tone and conception that's always tremendous – but which comes across especially well on this early 60s session for Argo Records! As you might guess from the title, things aren't as tightly structured as on some of Benny's more arranged albums of the period – and he opens up wonderfully in a small group setting – playing in a beautifully confident tone, but with a slightly raspy edge – cutting, changing, and swinging perfectly in lines that are masterfully crafted, yet full of raw emotion. The group's a thoughtful quartet, and includes Tommy Flanagan on piano, Ron Carter on bass, and Art Taylor on drums – and tracks that inlcude "Sock Cha", "Shades Of Stein", "Just By Myself", and "Just In Time" Benny's loosening up, blowing more, fully engaged, and has a kickass band on hand. If that sounds good to you, buy with confidence.

They do give warnings, yes!

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

As with their vinyl grading, I've developed a bullshit detector/translator. It's not yet perfected, but it's getting there. If they pimp the rarity, hey. If they pimp the chornology, that's a different hey. If they pimp the people on board, hey again. Etc. You gotta weigh the various pimpages and then proceed accordingly, becuase, sometimes I am more interested in the rarity than the actual quality of the perfomance. Sometimes. Like that Italian movie star's song cycle that had Steve Lacy on a few cuts. I know that was one for the collecting much more than the enjoyment, and although not totally without some enjoyability, it's ultimately one of those "glad I heard it once, but the next time it comes off the shelf will be if it ever comes up in conversation with somebody who's curious about it and doesn't know about Dusty Groove" things.