Soul Stream

Yeah, this and the original Groove Holmes solo LP "After Hours" are my favorites. With the Prestige titles Soul Message and the LP with "Just Friends" not far behind.

Gooden's Corner is Grant's tribute Leo Gooden.

I know this might sound a bit inappropriate considering she was 96 and has passed, but... When I was a 13 year old kid watching reruns of "Father Knows Best", she was the the original MILF (if you know what I mean. Very, very hot in her day.

Good thing about the M3 is that I think it has the same percussion and vibrato/chorus sections as a B3 (am i right Jim?). Also, keys and drawbars are the same. Yeah, you can't get the bass like a B3, but it's an affordable place to start. Problem with buying a Hammond Organ is you kind of have to know about them a bit. Otherwise you might end up with several hundred dollars of just maintenence-type of repairs right off the bat. First, you have to know how to turn it on properly and see if it runs. You'll need to check all the drawbars, keys, percussion/vibrato sections. Make sure it all works and SOUNDs like it's running well (not too jalopy sounding) Anyway, at a good price ($200-$300 bucks) you ought to be fine.

BOSS ORGAN is a GREAAAAAAATTTT record. Dan Gould hipped me to it and I've loved it ever since. Charles Earland could no doubt groove on the organ from day one. Awesome. Great find!

....sorry freelancer....guess I can't tell who's friend or foe anymore on this thread.

This whole thing is just an ignorant generalization.

Yeah, good luck.... $6,800....these people are on crack.

This is my main point. Thanks for putting it in words freelancer. If your only points of reference are Jimmy Smith and Larry Young, then we're just not going to agree on anything. And Jim Sangrey brings up the best point of all (as usual). If we can't get together and learn something new from each other than what's the point of being here? Are we suppose to "bow to all that is Yanow" now that you've logged in, or can we drop the bs and talk about music. I'm sure there's plenty of music you can hip us to. I've got a good knowledge of organ jazz, but wouldn't put myself up against many here when it comes to jazz in general. I love jazz and love learning more about the artists and albums that people around here are enthusiastic about.

This is actually a very good point. Not like AMG is a New York Times book review. Kind of like cotton candy, melts on contact.

But with all due respect, you don't write reviews either. I'm not asking the average listener to understand the difference between major jazz organists, just guys that get paid to review their records and have a knowledge base to talk intelligently about it. Is that TOO much to ask? I certainly hope not.

Scott, I think you should be able to stand up for yourself in these circumstances. To say John Patton was not innovative on the organ is to miss the obvious. I will believe what I wish, because it is supported by the music. Your claim otherwise is just uniformed or should be viewed in the context of disinterest. We like to have real music discussion on this forum. If you're not up for it and can't take the heat, then get out of the kitchen. I think that's a copout. We're all big boys here and have learned from others just as we have taught others here. I hope you can enjoy some honest debate here. Insults, maybe...but you have a cavalier attitude about music that is very important to me and others here. Perhaps you should grab some John Patton records and take a serious listen. But innovative? Oh sure. ...for that comment alone you can kiss my ass.

My feeling on music reviews in general is that the reviewer should be as knowledgable and informed as the most ardent admirerer of the music. Otherwise, a disservice is being done to the artist and those interested in the music being presented. To say all jazz organists except Jimmy Smith and Larry young sound alike? That's like saying most all jazz trumpet players sound alike except Louis Armstrong and Miles Davis. I guess you COULD make an arguement for that. But to anyone except the most casual of jazz fans would take extreme offense to that. You have to have some deeper knowledge to review this music. All jazz organists are not created equal as Scott Yanow would have you believe. Freddie Roach, Baby Face Willette, Jack McDuff, ect were all masters of their craft and certainly held an individual approach to the organ apart from Jimmy Smith or Larry Young. In the 60's, jazz organists were a dime a dozen. To rise to the top of that genre you had to be saying something unique. All this guys did. To me, Jack McDuff and Jimmy Smith sound COMPLETELY different. However, to the casual listener they might sound the same.

PM sent on Duke Peason's "Profile" and "Tender Feelings"

I got this CD today an am REALLY enjoying it. Swinging hard on some good ol' reliable standards. Nothing wrong with that! Love the way Joey and Mort open up Ornithology as just a duo. Thanks for the recommendation. Never would have found this on my own.

The Cherokee stuff is on the pre-RVG House Party (or the Sermon, one or the other). The LD stuff has never been available on CD in the US. This is a different version of Cherokee than was issued on the old CD. That is from the Mosaic 57 sessions stuff. The "Cherokee" TOCJ is different material. Arguabley better imho, athough it's really splitting hairs when it comes to this sort of greatness. Jimmy's burning.

I don't feel you have a deep understanding or grasp on the genre itself. To feel that nobody had a unique sound other than JOS and Larry Young is just to not have ears or care about the music. Don Patterson playing Oleo sounds like Jimmy Smith? John Patton playing "Steno" sounds like Jimmy Smith? Baby Face Willette playing "Blues In Maude's Flat" sounds like Jimmy Smith? If that's true to your ears, you shouldn't be put in a position to review these types of records. Joey Defrancesco and Tony Monaco sound like Jimmy Smith. Both unbelievable organists, but they'd be the first to admit they're debt to Jimmy. John Patton had never even heard Jimmy Smith until he after he was playing with Lou Donaldson. If "Live At The Scorpion" bores you....you should leave the AMG organ reviews to Stephen Thomas Erlewine. Athough I don't always agree with his reviews, at least I feel he understands the music. If you don't like "Scorpion" so much as to claim it's a bore. Please give us a more in depth review of the music itself in this forum. You're dismissive AMG review is 4 sentences. Hardly enough to give me an insight into what you think is so bad. I'd love to hear your thoughts on "The Masquerade Is Over", "Laura" and the rhythm section's performance on the funk numbers. Also, please feel free to expand your thoughts on John Patton's "Boogaloo." Your AMG review is 2 sentences of lukewarm nothingness. I would be interested to know on a musical level why John Patton has no identity and not much to say outside of copying licks from JOS.

This and the "Cherokee" CD from the TOCJ Jimmy Smith stuff is some of my favorite JOS stuff he ever did. He's really on fire on these things. Why they're not out in the states is a shame. Enjoy!!!!

Scott, now that you're here. I hope you don't take it too personally for blasting you, as AMG misprinted Baritone for Varitone. As you might expect, any reviewer who would confuse the two wouldn't deserve the time of day. That said, your review of Lou Donaldson's "Live At The Scorpion" is completely pedestrian. Your description that This set will bore anyone who listens closely. Are you a musician? Do you have an understanding of what these masters are doing on a musical level? Leon Spencer Jr.'s solo on "Laura" is one of the best organ solos ever recorded. The tight dynamic between Idris, Leon and Melvin is basically unsurpassed and make this perhaps the quintessential live organ funk record of the early 70's. It was the last gasp of the golden age of jazz organ, and to have the music documented at it's best like this is a godsend. I've listened to this session perhaps 400 times, and each time I find it fascinating. Lou's use of the Varitone is always highly musical, an basically unobtrusive. Unlike Stitt's sometimes "buzzsaw" quality....Lou gives it warmth and depth. We all have our opinions on music, but I've found your reviews of many jazz organ classics to be simply silly at best. If you don't like organ jazz, just say so. But don't tear down these guys work without a real understanding of what's going on musically. Your review of John Patton's "Boogaloo" is another joke. You describe John Patton's playing on this session as "never escaping entirely from the shadow of Jimmy Smith". There are plenty of players I greatly admire that this would qualify for (Lonnie Smith, Leon Spencer Jr., Caesar Frazier)....but John Patton is certainly not one of them. And ESPECIALLY on Boogaloo. If you can find one Jimmy Smith lick on that record please note it for me. His style by this point is so divorced from the mindset of JOS that it's just uninformed to say so. You also go on to say that this is a routine and now dated set of commercial late 60's jazz/funk. What are you basing this on? Harold Alexander's playing is commercial? Take a listen to "Spirit" and "B&J" and tell me that's routine commercial jazz/funk with a straight face? If you described Reuben Wilson's "Love Bug" as routine commercial jazz/funk, I would agree (although it's still a wonderful recording...a classic). But BOOGALOO...commercial jazz funk!!!! That's ridiculous!!! Patton's pushing the boundaries on that recording. Hell, it sounds more modern today that ever. I can agree to disagree. But you need to quit reviewing jazz organ records as you don't know what you're talking about in any way.

Kurt Russell was out again last night. I guess Quinten Tarantino is filming on the block and Kurt's in it. Cool dude.

I guess my question was why they didn't do anything different with the material? Their version of "Shotgun" is an exact copy of the original...sounded like a coverband in a Holiday Inn to my ears. What's the point if you're not going to do anything different with the songs? Plus, I thought the vocals weren't happening (blandish jingle singer sounding). And the over the top blues guitar by Chris Thomas...no wonder he didn't stick around Antone's too long. I really dug the IDEA of this, and bought it hoping for the best. (P.S...I don't buy a whole lot of new release stuff). But, as usual with a new release...disappointment. Pretty bland stuff.

WOW !!!!

I saw him with Joey on BET Jazz' "Jam Sessions" and they sounded great together. Craig seemed to be a real laid back and humble dude to...