Soul Stream

O.K., I'm a money-wasting RVG and Conn upgrad-a-holic! I just like the smell of a freshly-opened RVG! ....but...by the way...A Fickle Sonance RVG does SSSSSUUUUUCKKKKK.

Ed, you are my best friend in all the world, you have impeccable taste, and you are also the most generous man I've ever had the pleasure of conversing with online. And I'm not just saying that in yet another desperate attempt to be chosen to lead the next AOW!!! If it's any consolation, you were my next "go to" guy Al! So in the event that Ed Swinnich cannot complete the duties of his AOW Crown, you as the AOW runner-up, will do so.

I feel like some good old fashion banter between every few songs does a good job at connecting with the audience. There is a real art to "being yourself" behind a microphone. If you're having a good time, most likely the audience is too. Fun is contagious. So is boredom and apathy. Also that "jazz" thing...."miles and coltrane didn't talk to the audience." Well, I don't buy that for a minute. We're in the entertainment business. Plain and simple. Also, I don't be "schtick" either, or that BS pre-canned banter people do. I mean an honest "hello, i'm so and so and let's try and have some fun together tonight." Genuine-ness, no matter how awkward you feel about talking, helps grease the wheels of a show. I saw Steve Turre this year. His band is all about the music obviously. But he still talked to the audience and admitted "hey, i'm not very good on the mic, or comedic, but here's what we're doing up here. hope you dig it. we love playing it for you." Shit like that is real and connects.

Yeah Dan. I haven't heard Organic Duke, but the only other LeDonne organ thing I know of is a Chris Flory CD. It's o.k., but it doesn't really show what LeDonne can do on organ. I'll let you know how this new disc with him on it is. I've got that Jackie Ivory on Atco (actually a 4 song ep of it). It's nice, but I really like Jackie on the Willis Jackson LP, I forget which one. I'll have to check out the new disc.

Looking forward to your choice Ed!

not to mention Downbeat is THE thinnest magazine ever published. You don't get much for your money. Especially considering half of it is reviews and back page advertisements.

B3-ers avatar is actually part of a picture that includes Sonny Stitt, Don and Billy James. It's THE baddest picture and is the inside flap to the LIVE recording they did that was released on those Left Bank Jazz Society things Joel Dorn did. BAAADDDD.

I think part of the problem is the availability of so much GREAT music on Cds and vinyl. When a local player solos, in the minds of the listener he's ultimately compared with Miles, Trane, Philly Joe, JJ Johnson, Jimmy Smith, ect. Why? Well, because for the most part people who are truely into jazz as listeners are usually listening to recordings long, long before they make (if ever) an effort to see live local jazz on a regular basis. When that happens, the listener tends to think how lame the scene is, Hell, they've been listening to Trane all day at home, and now this (local) guy sounds like crap relatively speaking. It used to be jazz was part of the black culture. Musicians would rise up from the culture, learn, progress and be nurtured by the audience. Encouraged by the masses. That's not the case now. Jazz has failed to continue as a community experience. Just a couple things to think about when you think your local guys aren't doing too well. Personally, I have a lot of respect for anybody trying to play jazz. It's not an easy way out musically or financially. They obviously do it for the love of it. Matter of fact, I have a lot of respect for anyone trying to make it in music. As long as it's not motivated by the thought of stardom. If expression is the goal, I try to admire what almost any musician is trying to do. ....Also, I think that's great the B3-er has a group that sticks together. It really bodes well in the longrun for ALL of you. Caring about the music should be first for all musicians ultimately, and sticking with a group is the first step imho. However, like you said Jim, sacrificing MONEY is very, very hard to do. Especially when you're trying to make a living at it. Also, on another note. My "pick-up" drummer last night turned out to be an absolute monster. One of the best I've worked with locally and may well end up being the first call from now on. Unlike many drummers, he knows how to swing an organ trio to death! So, the nature of pickup bands is also another way to meet and play with people you wouldn't otherwise get a chance to play with. And sometimes that's a VERY good thing.

O.K. We've all got "Waiting for the Boogaloo Sisters" by now. Just wondering if ya'll had any plans on a new recording?

Hey, already ordered! Can anybody suggest any other organ stuff they've tripped over on CDBABY. I really like listening to indepedent stuff from people I normally wouldn't hear otherwise. P.S...B3-er you must of had a gig too. Can't sleep yet....

Adam is a close friend and that is a really nice disc. Also, he's on Ben Dixon's organ trio CD "Say Yes to Your Best." Which is still one of my favorite trio records in recent years. Adam's also been recording and touring a bit with Bob Beldon, not to mention his substituting for Lonnie Smith on occassion with Lou Donaldson's band. Oh, and did I mention the Sugarman 3 stuff . Anyway, Adam's real busy and for good reason. He's one of the best imho (and Lonnie's too ) Also this disc mentioned above with Mike LeDonne. That guy is another terriffic organist, not to mention one of the best jazz pianists in NYC. I used to catch Mike at SMOKE on his usual Wed. gig with Eric Alexander and Joe Farnsworth. Me and John Patton used to drop by there when we were out and about in the city. LeDonne's so unknown on organ that it's a shame. He used to play up in Harlem with Joe Dukes long before any organ revival. So I hope he does some more recording on organ soon. (think I'll grab that disc from CDBaby!)

It seems like AOW is a "hot potatoe" thing. You get it and throw it to someone else. How people pick the next one seems pretty random. For me, Ed has been gracious enough to send cdrs of hard-to-find or oop titles to me over the last year or so. This is just a little way to "pay back" Ed for all the goodwill. Also, knowing how deep ED is into the music. I'm really interested in what he would choose.

I choose Ed Swinnich to follow me in the AOW. (As far as I know, he hasn't done it yet). However, I've sent Ed an e-mail but haven't heard back. Thought I'd post it in hopes that he'd see it. Ed?....

Just a point about the "pick-up" band thing. And I speak totally from experience as someone who does this sort of "pick-up" band all the time. I play usually 2 to 5 times a week and almost every gig consists of at least 1 different player. Although it's a revolving cast, I feel it's the best way to play good music. Why? Because the best players in town are always busy (drummers especially). When I have a gig, I start with the best and go down the list. Sometimes the best can do it, other times they can't because they're booked. Even my 2 weekly gigs where I have the same 2 guys for the most part are up in the air as far as personel at least once a month because a higher paying gig comes up, ect. In a way, that's why those "tired old warhorses" are played all the time. Because the BEST players revolve. No matter where the scene. I gave up trying to do obscure, original or hard to relate on the bandstand songs long ago. Because EVERY gig is thrown together in a way. To have a group of guys commit to a project is rare. BECAUSE OF MONEY!!!! You have to have the gig before you have the group for the most part. Unless you're willing to work with people who are over-available (meaning not as good usually.) Through trial and error I've realized I want the BEST players on the stand I can get. The best originals and obscure standards in the world don't mean jack if the person playing it isn't very good. Given, it's not an ideal situation for the listener or player. But it's real life. Matter of fact, I've got to play a gig in a couple of hours with a drummer I've never played with. We'll get through the gig playing things we both know. That's how music works best. Sadly, that means "tired old warhorses" sometimes due to real life creeping in.

I'm to the point where I'm not really concerned with "what" a musician is playing, but HOW he's playing it. It could be OLEO, I Got Rhythm, Stardust... or any other so-called "tired" jazz vehicle. However, I think what you're tiring of more than anything is the lack of energy more than the standards. I saw Dewey Redman pull every inch out of "Second Balcony Jump" with a pick up band a couple months ago (at a VERY slow-medium tempo). That song in could either be facsinating or boring to me, depending on who's playinig it. I'd rather hear rhythm changes played superbly with heart than an "original" or something forced, played with boredom or less than professional capability. I go to NYC and hear those same old standards played all the time. The difference is that Harold M. or Eric Alexander or George Coleman or Lou Donaldson is killin' those changes. To hear Lou Donaldson play "Somewhere Over the Rainbow" is a joy to me. And most of the audience because he's playing it with heart and expertise and it's a song they know. Lou CONNECTS!

Jazz used to be about a connection with the audience. Now either bad or good, it's usually self-indulgent. Most jazz players I see could care less whether people liked what they did or not. Fact of the matter is, in their viewpoint, the audience is pretty much dumb cattle that "don't get it." Plus, the younger crop of players are playing 1 or 2 chord "trane" vamps that go on endlessly and all sound the same after a while. On the other hand, if they play a standard, it's usually pretty badly done. The average "Jazz" band on a local non-nyc, chicago, ect. scene just isn't doint anything that the average person can connect with. And that's the whole name of this music business game. Without a connection, music is just a crossword puzzle for the players own amusement. I see a lot of that. On the tip that the audience doens't "get it." I find that you could probably put Lester Young, Billie Holliday or Charlie Parker in a C&W bar in Abilene and their musicianship and ability to communicate would floor any audience. In the end, it's almost never the audience's fault, but our own as musicians for the most part. Plus, there's no written law that says jazz and classical music should flourish forever. Styles of music come and go. Without a jazz scene that connects with the average person, it will probably die as a living music.

Back At The Chicken Shack is in awful need of a sonic upgrade. A masterpiece in need of a rescue....not to mention Midnight Special and Crazy Baby.

For me, it's "The Scene Changes." I've always LOVED that record, but have only heard it on it's original crappy CD incarnation. Can't wait for the improved sonics. It was one of the first BN's I ever got. In a batch coincidently with "Adam's Apple," my favorite Wayne Shorter record! Man, I love when the reissues start hittin'!

The thing about Stitt, to me at least, is this. It's like driving around NYC with a taxi driver that KNOWS the city. Every inch. Every turn. Every blocked street under construction. I mean Stitt is THE best when it comes to knowing his way around the changes. On the downside, just like a ride with crazy cabbie who doesn't know jack....sometimes THAT ride can be even MORE exciting. And that's the feeling I get listening to these two albums. I find myself admiring Stitt more than I find myself FEELING him. He's so great, but at the same time it feels like he's been down these roads so many times he's bound to be a little bored. I think the fine rhythm section spurs him on to these terrific performances. And, to me, they're the real stars of the albums. They give Sonny a nice cloud to float on. And float he does. I've heard Stitt on fire more elsewhere. The stuff he did with Patterson is exceptionally burning in my mind, although anti-organists might disagree. On the ballad side is where I feel Stitt the most here. "I Don't Stand A Ghost Of A Chance With You" is expecially fine. Although Dizzy Reece has wrung more out of the tune for me than Sonny does here to be honest. This stuff really is a swan song for that whole era. By the time this stuff was laid down, times had changed. I get the feeling this is more like a reunion of old friends talking about old times than anything else. But, nothing wrong with that either. Masters plying their craft like only they can. On the whole, the Tune-UP album hits me more. The title track is a standout. Nobody flys like Sonny over II V's. Endless variety and nary a slip up ever. He's like a dog on an iced-over pond, sliding around like a son of a bitch! I wanted to thank Brad again for picking this one, and especially for sending me a copy. Thanks Brad!!!!

Grantstand for me. One of the all-time great organ sessions.

How many versions of "Blue Train" will be issued before the tape disinegrates. I think I will just stick with "The Ultimate" and believe that there was truth in advertising. Seems like BN could RVG another title that is as yet unavailable.

Well...that's pretty much my thoughts on this one. I dig McDuff, but I have a feeling that's pretty much HIS thoughts on it. I think it was a commercial effort. Brother Jack was trying for a big seller and if this was on at a party I'd probably be perfectly content. I remeber I dug the opening tune but got kind of bored with the rest of it. When McDuff hit the last track he did a standard groove blues and that sounded great...and I have a feeling that was the one HE enjoyed. I thought about other albums that were more straight-ahead organ endeavors like "Grantstand" or "The Sermon", ect. However, I think "Moon Rappin'" shows the B3 shifting with the times. I Don't know if Jack liked it or not, but I think this commercial outing actually shows a different (and damn adaptable) side of his playing. I'm a big fan of Jack McDuff, and even though "Moon Rappin'" and the follow up, "To Seek A New Home" take a different route to Groovesville than his earlier stuff.... it's still some of his best work... in that it points towards the acid jazz movement of the 90's almost more than any other album of the era. If you think it's sheer commercial garbage, try McDuff's "Kisses" for a relative viewpoint. Is it "Grantstand,:" or "Brother Jack Meets The Boss?" No. But I would ask that you please give it another try Harold. There's some very nice musical elements happening here that I think go beyond the perceived 70's-itis the cover suggests.

They have them at Amazon.com, used for @ 8 bucks. I haven't checked half.com but I'm sure they probably have a few. Also, I would think Tower, ect. would have them online....

Jimmy Smith's "The Boss." I'd love to hear the whole night. Taped live in Atlanta, probably 3 sets worth of material that is all worth releasing I'm sure. Although since it's Verve, I won't hold my breath. Just think, I can use my copy of Jimmy Smith plays Peter and the Wolf (reissued) to hold up my couch in the meantime.

The Flip. I heard it once on vinyl and think it's a nice album. I've got "Mothership" through the Mosaic and have to say it's not a favorite of mine. Looks like a nice batch though....