Hot Ptah

Well, the CD is unique and important in the history of jazz bass playing, is very hard to find, was pressed in very limited quantities, and you are dealing with a very busy guy with no staff to help him. If I have made chewy speechless, I must have done something wrong there, so I am trying to explain myself.

Very cool CD & one that I'm assuming saw pretty limited distribution; I happened across it in a box of giveaway items that a previous employee had assembled at the station, picking it up and thinking, "Can't be the Richard Davis..." but it was. I think it had very limited distribution. Richard released it himself. He mailed a copy to my house, so that's how it was distributed to me. I think that the arco bass selections at the beginning of the CD rank with any in recorded jazz history. Richard Davis is one of my favorite bassists -- no, make that jazz musicians on any instrument. Where can I get me one of these? I would email him at rdavis1@facstaff.wisc.edu, and ask him for one. This email address comes from his website. Thanks! He gets a ton of email and letters from former students, as he has been very well liked as a professor at the University of Wisconsin since 1977. He tries to respond to all of them, sometimes with a one sentence reply on a postcard, but he does respond. To put your request for the CD at the top of his list of mailings to respond to, some enthusiastic words about your love of his music wouldn't hurt. Also, he puts on a very low cost several day bass clinic every spring for elementary through high school students, and pays for any shortfall in funds out of his own pocket. Some of his friends have made sporadic attempts to raise funds for him for that annual clinic, but the fundraising effort is not very aggressive, from what I can tell. If you enclose a check payable to "Richard Davis Foundation For Young Bassists", your request will most certainly be noticed. The amount of your check can be deducted as a charitable contribution. He doesn't know I am suggesting this, and he would not suggest it. All I am saying is that if you really want the CD, this is the specific way to truly get his attention in a major way.

I'm curious about this one. Many said it didn't live up to its potential (the Herbie/Ron/Tony rhythm section, plus as I understand it they don't play on every cut). I've almost bought it several times, but have not yet succumbed. They don't all play on every cut. To me, the entire album is listenable, which places it above many in Santana's recorded output. It is not like Plugged Nickle with Larry Coryell sitting in, or something like that. You can't expect that or you will be disappointed. It is more like a good jazz/fusion album from the days when that genre was still promising, although Swing of Delight was released several years after the genre was no longer promising.

Very cool CD & one that I'm assuming saw pretty limited distribution; I happened across it in a box of giveaway items that a previous employee had assembled at the station, picking it up and thinking, "Can't be the Richard Davis..." but it was. I think it had very limited distribution. Richard released it himself. He mailed a copy to my house, so that's how it was distributed to me. I think that the arco bass selections at the beginning of the CD rank with any in recorded jazz history. Richard Davis is one of my favorite bassists -- no, make that jazz musicians on any instrument. Where can I get me one of these? I would email him at rdavis1@facstaff.wisc.edu, and ask him for one. This email address comes from his website.

I actually like "The Swing of Delight". It is the closest to real jazz that Carlos ever got, and I think it works pretty well. "Welcome" is my favorite of the ambitious, jazz-oriented Santana albums though. I agree that "Borboletta" is not that great, except for the classic song "Mirage".

Very cool CD & one that I'm assuming saw pretty limited distribution; I happened across it in a box of giveaway items that a previous employee had assembled at the station, picking it up and thinking, "Can't be the Richard Davis..." but it was. I think it had very limited distribution. Richard released it himself. He mailed a copy to my house, so that's how it was distributed to me. I think that the arco bass selections at the beginning of the CD rank with any in recorded jazz history.

love the story how sun ra banned the rain from the moers festival during his performance http://www.dpo.uab.edu/~moudry/articles/moers.htm (did davis say whether what he told the induction center had to do with magic as well) some surprising names in that discography, freddie hubbard, yusef lateef, wes motgomery... Richard Davis did not mention magic as part of what he told them at the induction center. Mostly, he repeated over and over again that he refused to fire a gun and other things of that sort, with a certain uniquely intense manner. He never spoke in that manner again in my presence, so I assume that part of what Sun Ra taught him was how to say it.

I saw Betty live many times between 1978 and 1982, and she was incredible live in that time period. I do not think that her live artistry in that period was ever captured on recordings. Even "The Audience With Betty Carter" did not really get it. She was simply riveting then. I have had few moments when I was truly transported away during a live concert, and many of them were from Betty in that period. I recall one show at the Jazz Showcase in Chicago near the 4th of July, 1980, when she literally made my hair stand on end and my eyes melted into hers as she sang a love ballad. It was incredibly powerful. Just thinking about it makes me shiver. Her bands during this period were also always top notch. John Hicks and Mulgrew Miller were her pianists, Cameron Brown was the bassist for a time, and Kenny Washington was on drums. She sang over them like a jazz horn giant with an all-time great rhythm section.

I also think that Dizzy's duo album with Oscar Peterson on Pablo works well. He had the chops to keep from being wiped out by Oscar, and they achieved a sort of working truce on the recording, to good results. I do not think that the other Oscar duet albums on Pablo are nearly as good. Dizzy solos well on Duke Ellington's "Jazz Party", on a few songs, most notably for me on "UMMG". I think that one thing with Dizzy is that, like Art Tatum, his usual playing is so great, his chops and rhythmic conceptions are so off the charts, that you can get numb to it. If nearly any other trumpet player executes a run which is ho-hum for Dizzy, the listener sits up and thinks, "holy cow! what was that!"

Between Sun 5 and Sun 6 on this discography, it is mentioned that Sun Ra played in strip clubs in Calumet City, in trios. Bassist Richard Davis has lectured on this in his jazz history classes at the University of Wisconsin, and has also written to me privately. He played with Sun Ra at strip clubs in Calumet City during the same time period. He said that Sun Ra would spend the entire night reading books, while playing piano at the same time, never missing a note. In Richard Davis' privately released CD "Reminisces" (which contains some fantastic arco bass solo recordings by Davis), he includes a 1950 photo in the liner booket of Sun Ra sitting in his family's living room. Richard also used to love to tell the story to his jazz history class about how he was drafted into the Army around 1950, and Sun Ra told him exactly what to say at the induction center to get kicked out, which worked.

Do you have Santana Live at the Fillmore 1968? Great version of Fried Neckbones. I'll add it to my (endless) list, Cary. I've actually only recently bought Abraxas, though I heard it a lot when I was younger. Hearing "Samba Pa Ti" for the first time in years was cool. Noj, Do you have Santana III, the Deluxe 2 CD edition? It is a must have!

It might be because Tony ordered the hit on Patsy's brother and he has always wanted more for his daughter. This relationship sucks Meadow into the Mob world forever, on some level. Tony certainly did not want that when he kept trying to keep the Aprile boy away from the Mob when he was dating Meadow. Yes and no. The main difference though is that Patsy's son is in med school and is in no way mixed up in the business, so he's stands a better chance of gaining Tony's approval and giving a different life to Meadow. In what episodes did we learn about Patsy's son? I just don't remember it.

That entire album is better than more than half of Santana's recorded output, in my opinion.

Thanks, everyone, for all of the thoughts. I greatly appreciate the information.

It might be because Tony ordered the hit on Patsy's brother and he has always wanted more for his daughter. This relationship sucks Meadow into the Mob world forever, on some level. Tony certainly did not want that when he kept trying to keep the Aprile boy away from the Mob when he was dating Meadow.

He is excellent live and very much worth seeing. He has a fine acoustic trio which is tight and swinging. It is not a commercialized live show. Ramsey himself plays a lot of improvised acoustic piano and his acoustic bass player, Larry Gray, is a fine mainstream bassist. It is not going to be like a Cecil Taylor event, but it should be a memorable mainstream piano trio show, with some familiar songs performed.

Dizzy is a favorite of mine. It was relatively easy to see him live in the mid to late 1970s and 1980s. By then his chops were not consistently what they had once been, but he could still play quite well. I saw him once at the Jazz Showcase in Chicago in the spring of 1978 when he was just on fire, and playing with intensity and creativity for the entire evening--the equal of his recorded works from much earlier in his career. Other live sets from that time featured more of a relaxed performance with a good deal of clowning. I recall some great, beautiful ballad playing at Milwaukee's Summerfest outdoor festival in 1981, to a largely indifferent, beer swilling crowd. His albums became uneven and not all that noteworthy some time in the later 1970s. So, at the time when many posters on this board seem to have come to jazz, he was not at his career peak. Some of my favorite Dizzy albums include: 1973's "The Giant" (with Johnny Griffin, Kenny Drew, NHOP and Kenny Clarke); the aforementioned "Carter, Gillespie, Inc.", which is lovely and excellent; "Afro Cuban Jazz Moods" with Machito, on Pablo from 1975--one of my all time favorite listens, especially the long first song which was Side 1 of the record; the 1957 sessions with Sonny Rollins and Sonny Stitt; 1961's "Perceptions"; the 1940s studio sessions with big band and small combo (some with Bird); various live big band albums from the 1950s and 1960s--often very exciting. Dizzy should not be ignored!

Holy shit!!! 8 x 15" bass driver !!! that must really shake your house. Are you an organ freak?? that would be perfect for it. And I thought that I had big bass with 4 x 8" It could shake the house, but we choose to rarely shake it! These speakers were installed by the guy who built the house. He was a retired dentist with MS, confined to a wheelchair, whose joy in life was listening to his 50,000+ classical LP collection on this system. He had an entire wall of the bedroom made into built in LP racks, too. My wife wants to move out of the house, into a nicer house, which I can't argue with. I am trying to figure out whether this speaker system is notable enough to make it worth taking it out of the walls and installing it in whatever new house we buy. Any opinions on that? I would really appreciate all of your input. 20 years ago I had 2 x15 " speakers build in the wall, then a separate box handling the mid and treble, although the bottom end was very realistic the sound was pretty coloured compared to some of today modern loudspeakers. Then again to get a loudspeaker to move air anddecent bottom end (30 hz) it is quite expansive I would imagine 6000$ plus. I built my own using the best drivers money can buy and lots of trial and error with the crossover, it took me nearly 2 years to get right but it was worth it To get something similar to what I build would cost close to 30000$ and it only cost me 4500$ + lot's of my own time and labor. I used 8" Audio Technology drive units (4) they move enough air to listen to big orchestral work realistically. I am very happy and the speakers are relatively small 9" wide 42" tall and 16" deep. If you like big sound (you have big sound) check out http://www.me-geithain.de/ these East German guys make one of the most realistic sounding speaker there is (15000$) for a pair of RL 901 which includes 2 x 16" bass drivers. The big plus is that they are active thus you save on the amps. These are units with very good reflection control characteristics (both for high AND low frequencies - the latter is a unique engineering feat in the audio world), so easy to control in a normal living room The big minus, they are the ugliest speakers I have ever seen. Still highly recommended. They are a few reviews on the net. So here is some food for thoughts. Thanks for your thoughts. I will check out the website in your post for sure.

Holy shit!!! 8 x 15" bass driver !!! that must really shake your house. Are you an organ freak?? that would be perfect for it. And I thought that I had big bass with 4 x 8" It could shake the house, but we choose to rarely shake it! These speakers were installed by the guy who built the house. He was a retired dentist with MS, confined to a wheelchair, whose joy in life was listening to his 50,000+ classical LP collection on this system. He had an entire wall of the bedroom made into built in LP racks, too. My wife wants to move out of the house, into a nicer house, which I can't argue with. I am trying to figure out whether this speaker system is notable enough to make it worth taking it out of the walls and installing it in whatever new house we buy. Any opinions on that? I would really appreciate all of your input. Loudspeakers are the components that are much improved in the last twenty years. I mean that now you can buy good new, or used, modern louspeakers at a fraction of the price. At the same time, I think you have to consider the total cost and hassle of remove them and reinstall in the new house. For sure I'd bring with me the rest of the system, including the two Marantz. If you are a good DiYselfer, I'd get all the stuff. Do you already know the new house? Do you have the place to install this "wall of sound"? We haven't found a house yet. I guess I am trying to decide how hard to push to include a place for the speakers in our new house search. The owner of a local audiophile store has worked on this system for years and would remove it for me and reintall it, if I had a space for the speakers. He has talked to me about the need to protect the speakers from excessive dust and any puncture, in any construction process.

Is that one of the ones where a little mechanical arm pops out and flips the tape around when it has gotten to the end of the first side? I used to want one of those really bad, back when a substantial portion of my collection was in cassette format. It is not one of those.

Does anyone know--in the Mob, what is the effect of a captain's child marrying the child of the head man? Does Patsy have a lot to gain if his son marries Meadow?

Holy shit!!! 8 x 15" bass driver !!! that must really shake your house. Are you an organ freak?? that would be perfect for it. And I thought that I had big bass with 4 x 8" It could shake the house, but we choose to rarely shake it! These speakers were installed by the guy who built the house. He was a retired dentist with MS, confined to a wheelchair, whose joy in life was listening to his 50,000+ classical LP collection on this system. He had an entire wall of the bedroom made into built in LP racks, too. My wife wants to move out of the house, into a nicer house, which I can't argue with. I am trying to figure out whether this speaker system is notable enough to make it worth taking it out of the walls and installing it in whatever new house we buy. Any opinions on that? I would really appreciate all of your input.

Here is my set up: Two 40 watt Marantz tube amps (installed in our house by the previous owner in 1962) McIntosh C-26 Preamp Thorens TD 124 turntable with Shure cartridge Nakamichi BX-2 cassette deck Denon CDR W1500 Cd player/burner Denon TU 7595 tuner Speakers (built into house by previous owner): Eight JBL D130 fifteen inch bass speakers Two N500 networks Two JBL 375 high frequency drivers Two 537/512 horns with acoutical lens Two JBL 075 supertweeters with lens Two N7000 networks

I don't think he said "eyes". Then I heard it wrong. What did he say?

Does anyone know the music that was playing over the final credits? I thought it was interesting to see A.J. try to kill himself in the pool. Early in the first season, Tony waded into the pool in his robe, and his love of the geese that came to the pool was a major obsession. Much later he got back together with Carmella, after she had thrown him out, by having sex with her in the pool. Now if Meadow is drowned in the pool by Phil, that would complete the circle. I thought that Paulie's two inappropriate comments were hilarious. After Tony almost bares his soul to the gang about his peyote mystical vision, then thinks better of it, Paulie tells a story about being dosed with acid at the Copa in 1968 and as Jerry Vale starts singing, he sees laser beams coming out of Junior's eyes. Then after A.J. tries to kill himself, Paulie says that with all of the toxins out there, like mercury in the fish, it's a wonder more kids don't throw themselves off bridges--while Tony & Co. are dumping asbestos all over the New Jersey wetlands.