felser

Go to your usual online shop immediately and order the Earland CD 'Black Talk', the greatest organ combo album ever made. If that one wasn't at the very top of the recommendations you got from board members, throw those recommendations away and start over. And give 'Front Burner' another try - it's a good one.

Then may be a chance for botique reissue labels to license material from them? Hello Collectables, Wounded Bird, Water, etc. Mosaic could have a field day. And as the material reaches 50 years old, the European labels can go wild. Waiting for that Archie Shepp Proper box!

Someone needs to jump on that Coltrane box - it's great!

"I can't hear you on the monitor!"

Back in the mid-70's for a little while, I did a Sunday morning jazz show on Temple-Ambler's inhouse station WRFT. I played the heck out of the title track from this album and the title track from Lonnie Liston Smith's 'Expansions'.

I was never really knocked out by the LP - seemed more mainstream than where Hubbard's head was at during that era, nothing like 'Black Angel' or 'Red Clay' at all. I like Hubbard a lot, but this wasn't high on my list of Hubbards. That being said, I haven't heard it in probably 25+ years, so don't know if it would strike me differently now.

Chuck, totally agree with this philosiphy and practice it. That's the great part of trading. You can learn about something totally new for the cost of mailing a CD to someone else on the board who also then gets to learn something new. Adam, my opinion on the Hubbard goes contrary to at least three postings here. I like the album quite a bit, especially the side with "Space Track", which is a great long modal piece, with amazing Reggie Workman bass work. Louis Hayes is the drummer - I know drummers are important to you. And I think the album cover is cheesy. But by all means, get the CD!

Sort of reminds me of the old National Lampoon gag, where for a limited time you could order a set of "every record ever made".

Agreed, I find this to be his most satisfying. I'm not that big a fan of his Blue Notes, find them a disappointment relative to the label and personnel, especially 'The Connection'. I don't really care for his writing on the Blue Notes, too "clever", not organic and not sympathetic to his hornmen. He's good, but, to me, far from Great. That label should be saved for the McCoy Tyner's and Bill Evans's, I think. And in that league, he ain't. One man's opinion.

The best-of's, including the 20th Century Masters release, will give you the title track and the basic idea. Worthwhile if a cross between early Santana and Booker T. and the MG's sounds good to you (it does to me).

PM sent on the Bloomfield.

PM sent on Mimms, Bass, and Kweskin. The Valenti is a real good 60's artifact (much better than his Quicksilver stuff, he ruined both them and himself) someone needs to grab it.

PM sent on following: - Milt Jackson, Lucky Thompson: The Jazz Skyline. Savoy. - New Orbits in Sound – Spud Murphy, GNP. (never heard of him, but good sidemen) - Lee Konitz At Storyville. “live” with Ronnie Ball, Percy Heath. Black Lion - Teddy Edwards Octet. w/Jimmy Woods, 1960. OJC. - Johnny Smith with Stan Getz. Moonlight in Vermont. -Cecil Taylor Unit: Spring of Two Blue J’s. Fonac.

Very interesting pick. Being from Belgium, you probably don't realize that the title track became a moderate-sized pop hit here in the USA, so El Chicano then became recognized as a rock/pop act (like Santana and Malo) rather than a jazz act ("fusion" didn't exist yet as a category, despite the crossover work of Ramsey Lewis and others). And, to be honest, the group's background pointed in that direction anyways. El Chicano then, of course, would try (but fail;) to replicate their pop chart success, losing what made them unique. But I agree with you on the merits of this album, which remains a very enjoyable listen 36 years later.

I agree. Webster was my favorite sax player of pre-bop lineage, and this is one of his greatest later works. Not to be missed if you like Webster. But not a WC album, rather a Ben Webster album. The Land is a run of the mill (not bad in any way, but doesn't stand out) East Coast bop album, with a strangely anonymous rhythm section. Fine for fans of the genre (like me), but not a starting point or necessity in any way. Land wasn't really a "West Coast" style player anyways, given his time with Roach/Brown.

Poking around some more, Amazon shows Clifford Jordan - In The World due to be reissued on a Japanese label called Pony Canyon on 10/26. Does anyone have any ifno? Also , can anyone tell me about the Charles Tolliver release on ENJA that has been mentioned on the board? I can't find it anywhere. Is/was it a reissue of an older album from Polydor or Strata-East days, or is it something different altogether? Thx.

They now have one less used copy :-) Thanks for the heads up on this, great to see it in print.

Agreed, the Walton/Jordan/Magic Triangle/Eastern Rebellion recordings are gems. Love Jordan's 'Glass Bead Games' album especially. Hank Mobley was with the group before Jordan, Bob Berg after him, Ralph Moore later yet. This was the highlight of Jordan's, Berg's, and Moore's (so far) careers to me.

I love the Elvin Blue Notes (except for the last couple, which I still enjoy), but from memory, the Enja and Especially the Honeydews had excessive drum solos on them. If 20 minute cuts with 15 minute drum solos is your idea of great music, go for it. Otherwise, stick with the Blue Notes. Ironically, the Live at the Lighthouse stuff is great.

If it was Dexter or Griff doin' the 20 minute "Cherokee", with, say, Kenny Drew, NHOP, and Tootie Heath, that would count as a good time to me. But I agree, not many players keep it interesting for that long. Still not sure what Chewy's tryin' to say here, though. I guess he's like a good rhythm section, allowing us each a lot of different directions to go on this tune, er, thread.

Chuck, you're showing your age here!

My very favorite Beatles tune of all (I liked them best pre-Rubber Soul) is "There's a Place", which is one of the least known of their early cuts (at least in the USA). It was on the 'Introducing The Beatles' album on Vee-Jay, but deleted from the track lineup when that album was reissued the next year as 'The Early Beatles' on Capitol. Also, the Flamin' Groovies did a spectacular cover of "There's a Place", somehow capturing not just the sound, but the magic of tghe original. Beatlemania is where I first hooked into music. Born in '54, I'm right in the generation who were turned upside down by "I Want to Hold Your Hand" and "She Loves You". All the later stuff was just an anti-climax. To me, the Byrds took over from the Beatles as my favorite group, and then the Jefferson Airplane, Quicksilver Messenger Service, Santana, etc. were what I was taken by rather than 'Sgt. Pepper', 'Abbey Road', etc.

I think Collectables also reissued some, using the TCB billings. Fresh Sound used the original, proper Warwick billings, and are the way to go. The sessions are generally worthwhile, especially 'The Third World' (originally a Curtis Fuller album, I think). and the Byrd-Adams, but TCB would change the leadership credits in order to market under the name of the most recognizable musician, regardless of whether he was leader or sideman. Hence the Byrd-Adams stuff came out on the TCB reissues under Herbie Hancock's name. The sound quality is poor, even for the era, but is quite listenable.

I also really like the UA sides, more than the Steeplechase sides, which strike me as good but not spectacular.

Saw her live in Philly a lot of years ago at the Ethical Societ (have never seen Jamal live, even though he's Philly-based and I'm a fan). My main memory is that she projected a whole lot of attitude from the bandstand.