Soul Stream

Love to see this reissued on CD. Don't know who owns the rights to the Giant Steps stuff, but maybe George could shed some light if anybody knows him. Love to be paying George instead of the guy selling mint copies on EBAY.

That and the fact that Mike could post about this super rare LP and in 12 minutes, someone steps up with an offer. Bet he didn't think it would happen that quick! Damn right!!!! Organissimo has really GREAT customer service! P.S....anything I can do for you Dan???

Man...I forgot all about that thread. Much less posting on it! I have known about the existence of that one for a while and have always wanted it, but until really listening a lot to "Boss Organ" lately wasn't as fired up. But I am now!!! Something about early Earland that packs a LOT of punch.

Thank God for Dan!!!!! You're my hero! Still live at the same address too. Wow. Can't wait to hear this one, I'm about to read that thread.... I bid on this on Ebay today and it ended up going for 64 dollars!!!! Thanks again Dan.

Wondered if anybody had this LP. "George Freeman Live w/Charles Earland Sitting In" on the (I beleive) Giant Step label. Would anybody be interested in burning this for me, or selling me an LP of this? Really interested in hearing this early Earland stuff as I love "Boss Organ" his first on the Choice label. Thanks for any help. Mike

Most of the booking agents I have encountered who claim to be musicians are typically weekend lightweights with very little talent but lots of bullshit.. Ex-musician booking agents have this to contend with. Usually, they find out along the way..."Hey, I'm making 50 bucks 2 nights a week...why not book the bands and make 50 bucks 7 nights a week and I don't have to haul my crap around and play 3 or 4 sets a night." Which, to be honest, seems to make a hell of a lot of sense. However, then they realize...."Hey, as far as making money goes...this booking job sucks too...and now I don't even get to play!" THAT'S the problem. Then they get hostile to a degree with all the guys that still play and have toughed it out with music. Those bookers/musicians sold out and now they're grumpy. That's my take on it anyway.... Not that I know anything about the music business anyway...

Yeah...I'll have to go back to that one. It's hard because there's just soooo much J. Smith, it's easy to skip over something as good as Six Views just because "The Sermon" or "Crazy Baby" is sitting right next to it! But Organ + Bari = Badass (just listen to Fred Jackson on Bari w/ Patton to prove it!).

Yeah, have you seen pictures of the band...they look like 14 year old kids from the suburbs...but damn are they funky!

Yes, it's either they take all the gigs themselves or give them to their past musician buddies. Or, they'll just resent any musician who passed them up.

There's only one thing worse than a booking agent....and that's a booking agent that used to be a musician.

Lou Donaldson. Not a bad one in the bunch imho, and someone who captured all decades of the label.

Always dug him and still do. One of those artists you forget how much you like until you hear him. A shame 70's radio formats have seemed to forget him.

Seems like modern jazz artists like covering the same 6 or so people...Bjork, Nirvana, Rufus W, Radiohead, ect...

I always dig the holidays. Holiday tunes are never spoilers for me. I like them and never much get sick of hearing them done well by good jazz musicians. Just wondered from the musicians in the house....songs you particulary like to play...hip substitutions you like...or recorded versions that always turn you on. Happy Holidays.

Well, here in Austin, the self-proclaimed "Live Music Capitol of The World"....the number of live music venues has been in steady decline for the last decade. Shot bars, Sports bars, and "hipster" bars (all sans live music) are the norm now. I haven't seen a new venue dedicated solely to live music open up here in the last few years to my knowledge.

My "Weekend" asking price used to be about $100 in town and $150 out of town. It's tough to get that anymore, and I aways considered that around the usual bottem end of things. During the week 50 to 80 bucks is about the norm. But truth be told, the PATRONS aren't there like the used to be....it's hard to blame the club owner (although I will out of habit ). Live music is dead. P.S.-I've had to pay the babysitter more than I've made on the gig for a net loss.

I'm actually am busier now I have been in a long while. Lately, I've been turning down a lot of work for the same reasons mentioned by others. I'm tired of being exploited. The money hasn't changed since 1986 (and before really). I play with a few older cats quite a bit. Not to mention names as to embarass any of them. But they've paid dues and had many high profile gigs.... But we're all playing a tip jar gig together every week!!! We always pull about 70-80 bucks each, but it upsets me that these well respected musicians can't get a guarantee from one of the best clubs in town. A shame. These club owners are spoiled, and whore musicians driving down prices don't help. Plus, I just think the demand isn't there anymore for anybody. Heck, when I was a kid...a popular rock band might sell out reunion arena in Dallas for 2 or 3 nights. Bands of that same popularity now might play at Stubbs here in Austin one night for 600 people. The best paying gigs are "background" music gigs for people eating. Flat out. Hands down. Rock, R&B, Funk gigs don't pay anymore. Oh yeah, and no New Years Eve gig this year. Which is strange since I'm connected to quite a few popular performers. But none have anything as of yet. Matter of fact, I don't know 1 musician with a NY eve gig this year! And I'm talking about musicians that are ALWAYS working. p.s.-In reference to Jim's comment....I'm hearing more and more about people playing casinos. My guitar player just played 2 casinos in Cali with Double Trouble (SRVs old band), and a singer I work with constantly flys to Minn. to play a casino there. Seems like these are the only places with money anymore.

Been reading the new Bob Dylan autobiography. Anybody else pick this up. Man, it's pretty freaky. If you don't think so, read the part about his explaination of his "numberical" musical system taught to him by Lonnie Johnson. It's from Mars.

The serious aspect of jazz seems more of a consumer characteristic than an artist one. Anybody who's good at what they do is serious, be it a plumber or a musican, painter, writer, taco bell employee. Joy and self-expression seem to be the goal. Past that, seriousness for seriousness' sake just seems indulgent imho. Dizzy was serious and not all at once. The two aren't mutually exclusive.

I couldn´t agree more! ...but any serious jazz aficionado SHOULD listen to and know DUKE ELLINGTON!!! o.k....i'll agree with that! (oh, and john patton too)

Yeah, I heard this in the car today. The only thing I took issue with was the reviewer's end tag of ..."If you're a 'serious' jazz fan, you should listen to and know Ayler's music whether you like it or not." That's one of the things I don't dig about the jazz community. That you have to know all aspects of jazz in order to be a 'serious' fan. I dig Ayler myself and know his things fairly well, and have the box set now. However, do 'serious' pop fans have to listen to and know Jefferson Starship whether or not they like them?! We could do with being a little less serious about listening to jazz. After all, it's just music.

...believe me, this all started out as an innocent question...

Hardbop's reviews aren't so much "reviews" as they are 'who played what songs where.' Outside of a few of his tried and true "most swingin'"s and such, I don't think he goes into much depth or criticism of the gigs. I do enjoy knowing the song details and personel of a George Coleman gig at Smoke. Don't find that anywhere else. on the web to my knowledge. I don't see much point throwing the baby out with the bathwater on this one.

Being an organist, I've obviously don't agree with his personal views on jazz. However, that said, I can't help but enjoy his recounts. I honestly didn't know, or forgot, that he was this controversial.

ED!!!! Shame on you! I thought at least you could dig Big John opening up full organ for a little horn shout at the end of his solo!!! (One of my favorite sections of the LP).