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So, What Are You Listening To NOW?


JSngry

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Spent the last two days quite unintentially with music brought to me by the letter "P"

First, all from Prestige (also "P)

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on a CD reissue that coupled it with:

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I can understand the intent/context of these records infinitely more now than I did at the time of their release. I can't say that I like them as equally infinitely more, but they are a lot more enjoyable than to have in the room now.

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This one, otoh, yeah, I dig it a lot more now than I did then, if only because of the rhythm section, who is about as great as this type of thing gets. Houston Person has been an honest player all his life as far as I can tell), but he has never been a 100% "jazz player", especially in these earlier days. He sounds to me like what King Curtis might have become had he not gotten all the hits and record dates. And Houston Person gets to the reed in a way that few players have.Maybe that's jsut a tenor thing, but hey, there it is. So, hearing it like THAT, yeah, I had some fun playing it 3-4 times in a row.

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Person again, and it's good, again in that "qualified" way. But it's the second half, with Rusty Bryant and Melvin Sparks where, finally, the qualifications become unnecessary, hell yeah, Rusty Bryant, THERE it is, always, always, ALWAYS! Even a dogass arrangement of "Proud Mary" is overcome by the collective soul power of this band on this day, and i DARE you to say that about any other band, ever.

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Produced by (houston Person (see, working hard!), again NOT recorded by RVG, to interesting effect, (who much of what we think of as a "classic" B-3 sound is actually RVG?), a little piano (everytime i hear Phillips on piano, he strikes me as having a very deep touch), and oh, yeah, ben Dixon, what's not to like?

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Person again, and for once not recorded by RVG, which is kind interesting, because at times he has kind of a Charlie Rouse-y gruffness, which the uber-reverb of RVG doesn't really reveal. And it's all "straight ahead", no funk-jazz. I don't think Persona was anywhere nearly as comfortable playing in theis vein than eh would become (really not until the later 70s/ealy 80s), but I do like how his honesty comes through - he palys what he knows, and plays it like he means it. It's jsut that at this point, he doesn't know that much, but it's ok, cat was on the scene and working hard at working hard - and at getting better. Anybody who can find fault with that...show me a better way to do it, please.

SO nice to at last have all the Booker/Patterson session under one roof. A longtime sentimental favorite, and if I sounds all Ralph J. Gleason-y emocute when I say that the opening and closing bridges of "Sentimental Journey" are devastating, so be it.

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yeahyeahyeahyeahyeahyeahyeahyeah "lounge"-etc.

BFD. "Lounge" is jsut code for "a gig where you have to play for the audience first if you want dat money. Some people cna do it well, some people gotta okie-doke it, and some people got the will and the skill to be damn near transcendental about it. They cna finf the truth - there turuth - in damn enar anything and then get it over to you like they mean it, because...they do. It, not that, it.

Trudy Pitts was one of those people.

Finally, away from Prestige, but still in the "P"s:

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Carl Grubbs on alto, maybe not the most polished player, but it don't hurt him none, and the rest of the band is all the way on it.

So, the letter P has been good to me this week.

 

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1 hour ago, JSngry said:

SO nice to at last have all the Booker/Patterson session under one roof. A longtime sentimental favorite, and if I sounds all Ralph J. Gleason-y emocute when I say that the opening and closing bridges of "Sentimental Journey" are devastating, so be it.

Patterson and Ervin together make powerful music.  So feel free to go all Gleason-y.  I'm right there with you.

 

1 hour ago, JSngry said:

So, the letter P has been good to me this week.

Nice roundup.  :tup 

 

 

I've been digging into some Lonnie Smith this evening.

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I think this was Donald Bailey's only leader date (with Odean Pope, Charles Tolliver, Tyrone Brown and George Burton!).  It was released on Talking House Records, which released two other fine albums in their Blueprints of Jazz series, by Billy Harper and Mike Clark.  I recommend them all.

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