Soul Stream

Oh yes, I DO know those album covers. Matter of fact I've got a few, but wan't hip to the LT lingo. Those are nice issues, and since we won't be getting "Mothership" on vinyl, still a valuable commodity I would think.

I don't think I know what an LT pressing is? Do I?

Just noticed Dan turns 38 today. Have a good one Dan, and thanks for the Charles Kynard this year!

Well, no two Hammonds have the EXACT same sound, but that's just nitpicking. Same electronics, yes. You and I know that's true Jim. But in general terms, for the layman, they are exactly the same. Let's not confuse these poor folks! Hence, why I traded the guts of my B3 for the A100. The sound and feel of every organ is different to the player. Also, Leslie models, preamps and leslie amps make an even bigger difference to the sound. A B3 through a 122 doesn't sound the same as a B3 through a 145. Rudy's leslie is a 21H. The best sounding Leslie imho (I think the one louvre up top coupled with the electro-magnetic speaker is THE sound). Wish I had one!

Can anybody pull up a larger image of the Mothership cover? It's hard to say too much about it, I can't even see it. Also, looking at the Mosaic booklet...there are no "later" images of Young, or any of the sessions past "Unity." And the "Unity" shots look wierd, over-lit, blurry...I'm not sure if F. Wolff shot these or not. It doesn't look like his work at all. Very unprofessional kind of look. So, I get the feeling images from his later sessions don't exist at all.

Same goes for the silly "The Concert McDuff." Great music, but canned as a MF. I can't believe on the CD reissue they didn't go back and take of the applause, ect.

Oh no. They have the EXACT same sound. Because the electronics are identical. Same preamp, same tone generator, same manuals(the two keyboards). Same everything. Nothing is different. The parts are interchangeable. Matter of fact, my B3 is a 56 and was pretty beat. Pre-amp was weak, manuals didn't have great action, ect. So I took all the guts out of a Hammond A-100 and put them in my B3 cabinet. You see, the Hammond B3, C3, and A-100 models are all the exact same thing but with different wood cabinets (O.K the A100 has internal speakers, reverb added ).

The B3 and the C3 are two different models made by Hammond. That said, they are completely identical except for the wood cabinet style. The C3 had a wood cabinet with solid front and sides. The B3 wood cabinet was more of a box w/legs. Dimension-wise for the cabinet, they are about the same if not identical. I've got a B3 and a C3, but I've never set them side by side and eye-balled them. All of the Blue Note/Prestige organ records we love (sans for some not recorded at Englewood Cliffs (ie JOS' stuff pre-englewood stuff cut on Jimmy's B2) were recorded on the Hammond C3 that is a permanent fixture at Rudy's Englewood Cliff's studio. Many refer to it as the B3 sound, ironically it's actually a C3. But like I said before, they are IDENTICAL except for the cosmetics (wood cabinet.) Hope that helps. ...did I sound enough like a nerd. B)

We do Rock Candy, of course! I love "Rock Candy" too. But to swing it hard like that in D flat has always been something on my "to do" list which I've never quite gotten around to. McDuff could swing in Dflat, but he seems to be about the only one that liked to. Even Don Patterson seemed to stuggle just a tad (for Patterson that is) in that key on "Deuces Wild."

Looks like a Hammond M-100. But he's kickin' bass on those records, isn't he? The photo must not be from those sessions because the M-100 is a spinet model with a crummy one octave pedal board and even crummier bass sound. This might have been taken at a rehearsal. Much like Patton's "Boogaloo" album cover, which claims to be taken in the studio but seems more likely to be taken at a rehearsal facility since he's playing a white B-3 with matching leslie. Patton had no memory of playing a white b3 at RVG's whatsoever, so it must have been elsewhere. My guess is this is at the same rehearsal facility with a different organ. To my eye, this doesn't look like a an M-100 but it's hard to tell from the photo. Hammond made so many models by the time this photo was taken lord knows what it could have been. Probably something with a full pedal board and enough b3-ness to rehearse on. It's definately not from the recording session, that Blue Note stuff is C3 all the way.

Happy Birthday Vibes!!!! Really enjoy that love from your wife. It's something special. Happy times.

What's wierd about that picture is it doesn't look like he's playing the C3 in RVG's studio. The organ looks like it has tabs instead of drawbars. Odd.

Now THAT is a BAAADDDD cover!!!!! GREAT photo. That's more like it. Maybe the best non-original Blue Note cover IMHO. ...of course, I HAD to steal it for my avatar.

I think if you like "screamin'," you'll also really enjoy "Tough Duff" or "The Honeydripper" among others. They're a couple of his earlier albums and feature Jack a little more heavily imho, than some of the more group-oriented things later.

Fantasy Jazz has really done a GREAT job in the last years in making a LOT of this band's material available for the first time on CD (or ever in some cases). You can't go wrong with any of these really. Of course the "Live" CD mentioned above along with the Live at the Jazz Workshop material is the cornerstone work of this band. Absolute must imho. Also and GENEROUS nod to "The Concert McDuff" CD release a year or so ago. Wonderful music.

After years and years of listening to Jack's band with Red, Joe Dukes, and George Benson....it still blows me away at how tight these guys were. You can tell that they worked set after set, night after night, year after year playing this stuff. There's no other way to explain the telepathy (and hard-ass work) that went into this music. God, what I wouldn't have given to see this group live in their heyday. It must have been ridiculous.

This is the point where Mathers drops his fake ghetto accent and runs away screaming "I'm not REALLY with 50 cent!!!!"

I'm not sure about everyone else, but I'm more than happy with the Mosaic Select stuff. Seems like some wonderful things coming down the pike that maybe wouldn't have made it anytime soon. Matter of fact, I pre-ordered the Patton Select and they sent me a Bennie Green by mistake. I kept it. What the hey, it's a great set that I had been on the fence about anyway. Sure, I've got "Soul Stirrin'" but the rest is well worth the 40 bucks.

Johnny Cash represented something so rare in show business, but at the core of every performer's intentions. Honesty. Cash was honest about who he was, and somehow that made us all feel better about who WE were.

I saw this for the first time last night in a rerun. I know it's easy to bash it, so I'll be the first. The one thing that really stood out for me was how overblown, over-the-top and downright hollow the musical performances are now. God, does EVERY performance need a cast of 300 dancers, rappers, jugglers, ect.? I mean, say what you will, but MTV has had some meaningful stuff on the awards shows, albeit a long time ago it would seem. Where's the Nirvana? Playing in their street clothes like they were in any local club. The current purveyor of "real," 50 cent, had a ridiculous super production and he was dressed "all in white-just like the video! ". The other performer with street creditials, Mary J. Blige, had another silly production (Of course what can you say about someone working with Poop Daddy.) Man, is music just this superficial at this point in time? And I'm not even talking about that stupid Madonna garbage, that's just a cry for help imho. I think there's a lot of GREAT music being made today by serious artists. Are they just not MTV-enough these days? My God, I fast forwarded through Justin Timberlake getting 3 awards. For what?! I wondered! O.K. I'm through venting.

Man Jim, you don't waste any time to you? Don't be too scared, I've got 2 myself and they only poop on you the first few years. Congrats.

I just wanted to comment on how much I enjoyed reading everyone's comments, guesses, frustrations. It's all part of what seems to make this board different. People really caring about the music. Can't wait for part 2....

One of THE best organ Lps EVER is one nobody talks about from an organist nobody cares about. BLACK COFFEE by Johnny "Hammond" Smith There was a local DJ here who played an old LP copy of this thing constantly on the radio. This was pre-CD for Black Coffee (it came out on CD about a year later), and I would have KILLED to get a copy of it. I LOVED it! Every song is killer. It's live in a shitty bar in New Haven CT in 1962 and it sounds like it. Lowdown but masterful every step of the way. I've been underwhelmed by Johnny's other stuff at times, but not this one. His version of Far Away Places is in my top 10 organ songs ever cut. Man this album cooks. Forget about Jimmy Smith, forget about MMW and all that stuff. This is what jazz organ is all about. A thousand guys playing a thousand shitty places and lugging that damn this around to play "Body and Soul" to somebody drinking their ass off. Johnny "Hammond" Smith and Co. do it, and do it like a MF. If you don't have it, you should be ashamed now that it's so easy to get on CD (coupled with "Mr Wonderful" another good un'). Just a few clicks away from Amazon.com (Dustygroove even has reissue vinyl cheap on this one). I wish I would have been so lucky! Get this now. Get this now. Get this now. Oh, did I tell you to get it. Johnny's solo on "I Remember Clifford" is worth the price of admission alone (and then some, unbelievable). Bad ass shit. PS...I used the album cover as my avatar. I'll keep it like that for a few days to remind everyone that their life doesn't matter until they buy it.

McMaster stuff isn't BAAADDD...it's just like a mayo/turkey sandwich-bland. I'd love to get rid of him in favor of Malcolm.

Very excited and curious to take in the Patton vibe! I know his work as a sideman, and I even have a few of his own dates, but I'm not well versed in the Patton ways yet. It will be a nice adventure, I suspect. And Bertrand, thanks for the post about the Blakey-Chambers duets. May just save me some money if I can find Drums Around the Corner (is it still in print? I haven't seen it for a while). Just a side-note....two albums that are included in the set..."Along Came John" and "Oh Baby!" were Patton's two personal favorites. I'm sure most are familiar with ACJ. I think it was a sentimental favorite for Patton. However, the session with Blue Mitchel, Harold Vick, Grant Green and Ben Dixon that makes up "Oh Baby!" is simply AMAZING. The compositions are some of Patton's best (and that's saying a lot.) Also, the horn ensembles are just so great...it's as close to a Horace Silver record as Patton ever got. GREAT album. It's WONDERFUL. There. Did I hype it enough.