felser

I have CD's by all of the above except Galas, who creeps me out too much.

Thanks Jim, it's yours.

This is also a nice set: I contacted them years back about a complete Hutcherson/Land set, which could pull in the Land sets on Maintstream and Cadet, as well as the Hutcherson Blue Note titles. I also think a Gary Bartz Milestone set would be really good.

It would mean a lot to the people preparing the BFT's if those people would take 30 seconds to either send an IM to the person who prepared the BFT or make a post that says "Hey, enjoyed it, thanks" or something. From the posts, I have no way to know if anyone other than Bill, Thom, Jim and myself listened to or even noticed the BFT. Apart from my BFT itself, the reveal should have generated some sort of discussion on cuts 5 and 6 if anyone else was paying attention. I'm gonna take you up on that some time! I have a friend in Nashua we also want to visit, not sure how far that is from you.

I'm going to retire from presenting BFT's since I am getting so little response to mine. We can open up December for someone who will present music of more interest to the community here.

I am announcing my retirement from BFT presenting, to open the month up for someone who will post music of more interest to the group here. Thanks for those who have participated in my past BFT's.

Thanks to the few who participated, and to anyone else who may have given it a listen, and thanks to Bill and Thom for their work on coordinating and hosting/posting. Have a safe and blessed New Years. 1 – Billy Parker – "Dance of the Little Children" A nice upbeat cut from his Strata-East Album "Freedom of Speech". Lonnie Liston Smith's little brother Donald Smith on piano and vocals, the Bridgewater brothers on the horns. 02 – Charles Earland – “Happy Cause I’m going home” From his album “Intensity”. Just a song that makes me very very joyful to hear, and it seemed like a great follow up to the first cut. 03-Charles Rouse – “Bitchin” Unusual cut for the Monk stalwart, from his Strata-East album “Two is One”. 04– Cedar Walton/ Hank Mobley – “House on Maple Street” From the Cobblestone album “Breakthrough”. I love the Walton/Jones/Higgins rhythm section on this one from early 1972 (was this their first together?), and of course they went on to record many classic albums throughout the rest of the decade. 05 - Kings in Exile – “Bullwimp” From the Dennis Gonzalez released album “Witness”, though he does not play on this cut (or on a lot of others on the album). Burnett Anderson is the trumpet player here. The tenor player is our own Jim Sangrey. Mark Menikos plays violin and composed the cut. 06 - Trio Encompas – “Jetlag Blues” People compared that the sax player to Chico Freeman, Arthur Blythe, and David Murray, and gave this very high marks. It is actually our own Thom Keith on tenor. 07 - Elvin Jones –“Lycra Too” From the wonderful Atlantic album “Midnight Walk” with Thad Jones, Hank Mobley, and Dollar Brand/ 08 – Art Ensemble of Chicago – “Fundamental Destiny” From the album of the same name. It was new to me, and has become my favorite AEC album. Don Pullen guests on piano on this album. 09 - Gary Bartz – “BAM” From the marvelous “Home” album, live at the Left Banke. Woody Shaw and Albert Dailey. Where’s the CD? People looking for a gem to lease and reissue, how about this one? 10 – Hastings Street Experience - “Yes Lord” From their self-titled mid-70’s album, which I love beyond all objective reason. Wonderful Detroit time and place vibes. Vocals by Motown ace Kim Weston. 11 - Rascals – “It's Love” From the “Groovin” album, which went top 5 pop in 1967. Hubert Laws and Chuck Rainey guest. This is the album where the Rascals opened up their sound, and it sits as their masterpiece. Classic singles in “Groovin’”, “How Can I Be Sure”, “A Girl Like You”, and the earlier recorded “You Better Run”, and lots of wonderful experiments. 30 minutes of bliss. They don’t make ‘em like this anymore (and rarely did then). If at all interested, don’t sleep on it.

Couple things on that. The PD Real Gone is now doing business as Reel to Reel. They are pumping the same sets back out on that label with the same content and slightly modified artwork. Believe me, they are a few steps above Not Now Music for Jazz Releases. Real Gone/Reel to Reel gives recording year and personnel info for each jazz album in their sets, which Not Now does not do as far as I can tell, and the sound is consistently much better on Real Gone/Reel to Reel than on Not Now. They don't at all feel like the same company. That being said, they are both definitely some steps below Fresh Sound and Avid Jazz.

No idea where I got this. Have had it for decades. You can see it below (google images is my friend). And including the discogs link. $10 shipped in USA or interesting trade or best reasonable offer. I just want to find a home for it, but it will be fairly labor intensive to pack it for safe shipping. PM if interested. https://www.discogs.com/Duke-Jordan-Cold-Bordeaux-Blues/release/8724962

Have had these for decades, no idea where I got them. They contain a really nice 8x10 B&W glossy photo (definitely suitable for framing) and a letter describing the album and giving a bio of the artist: Wayne Shorter - Phantom Navigator Arthur Blythe - Blythe Spirit Wynton Marsalis - Hot House Flowers If you are interesting in any or all, let me know, and we should be able to work something out. I have no idea how to price/Value them. I am tempted to just frame and hang them myself, but thought I would offer them up here first if they have meaning to anyone.

Al Kooper's "Backstage Passes and Backstabbing Bastards" and Steve Katz's "Blood, Sweat, and My Rock 'n' Roll Years". Both are really good, interesting writers, and Kooper is very very funny to boot. And they really didn't/don't like each other. Best read together, to get full view on the Blues Project and Blood, Sweat, and Tears. $22 shipped in USA or interesting trade or will consider selling or trading separately. PM if interested

I was talking about the PD label. They have upped their sonics in recent years.

I've had some Membran sets, and they are pretty awful. Definitely sub-Real Gone, about on par with Not Now. BTW, Real Gone has sounded pretty good in recent years, they cleaned up their act from the early releases, sort of like Collectables did in the USA.

That's how I also found it in years past. Much shorter tunes and much less fire and chance-taking than their Steeplechase and Muse albums. Direct to Disc recording seems to bring that out in musicians.

Very very nice. Thanks for sharing and welcome to the neighborhood!

For the most part, the Verve's are just very different. The few straight ahead dates he did on Verve are quite good.

Didn't realize he acted. Just know him as the Rams receiver who had that one cosmic season in 1951. Also Roy Hamiliton and Les Baxter, simultaneously with Hibbler.

And the DJ's flipped "Hung on You" and played the throwaway B-side ("Unchained Melody"). And the rest is altered history ("Ebb Tide", etc.).

Certainly looks like here, and the time frame (1967) is correct, but she was right in the midst of the "Get Smart" run then, so I wouldn't have expected her to be doing modeling. Stukk

The one in Philly is WRTI, 90.1 FM, run by Temple University. That being said, it is a shell of what it was in its glory days of Harrison Ridley Jr., Kim Berry, et al, and I don't listen anymore.

I've got just the jazz album for him:

Bertrand, the complaint about the same BN titles getting endlessly reissued is that other BN titles then get bypassed from reissue campaigns again and again. Not sure how that makes us snobs.

Yes, I loved and still love the music to it.

Third boxcar, midnight train, destination, Bangor, Maine. I'm a man of means by no means...

I would ask you the same question on who gets to determine what is and isn't offensive. Just those who take no offense to something? Don't I get to determine what is offensive to me? Doesn't a woman get to determine what is offensive to them? Denying someone the right to express that offense becomes its own form of censorship. Censorship comes from both the Left and the Right. And I don't see any tyranny involved here. No one on this thread is lobbying for the stupid "Baby, It's Cold Outside" song to be banned, just calling it out for what it appears to be in 2018. And certainly "Blazing Saddles" could get met today. Since when does perceived offensiveness stop Hollywood movies from getting made, if they are seen as something that will sell tickets? "Eight Miles High", a record a million times better than "Money for Nothing", was banned because it was incorrectly accused of being a "drug" song. Why no protest over that? Certainly, Mark Knopfler knew full well in 1984 he would be hitting a hot button with that line. He chose to go there, and decisions have consequences. I never did like the song, or the album musically, apart from the line. It represented the dumbing down of his lyrics, which had been at times fairly profound up to that point, and of his music. 'Brothers in Arms' was the death of Dire Straits to me, who I really loved before that. And yet, 'Brothers in Arms' is by far the top-selling Dire Straits /Mark Knopfler album.