danasgoodstuff

OK, so I went and played it yesterday and it wasn't all that. It was shiny and generally in nice shape but it just didn't feel as solid as my Conn or King. It's serial # is 133370, I'll have to see if I can find a ref for Buescher, but I suspect it's 30s or later 'cause the keywork is more modern than the '20s horns I've played. So I think I'll pass. If anyone else is interested it's at The Music House at approximately 60th & NE Glisan in Portland, they have web site which a Google search should find pretty easily. Thanx again for the input & letting think 'out loud' here.

The 5 Royales were indeed excellent, and unusual on several levels. Lead by bass singer and guitarist Lowman Pauling, his writing made them more self-contained and less subject to managerial and record company whim than most vocal groups. They also showd a stronger gospel slant than most '50s vocal groups, making their records sound more modern to ears used to '60s soul. One of my favorites among the performances not included in the above mentioned and nonetheless excellent 2 CD set is "I'm With You", cut late in their career (circa 1960?) and without Lowman where pretty much all they sing is "I just want to tell you darling, I'm with you, I'm with you all the way", first one singer then the other. Sam & Dave covered it but didn't manage to reach the same level of fervor.

I have all the BN John Patton except Oh Baby! (Obviously, I agree with the premise of this thread.) What is the best sounding edition of that album?

Rounds these parts, the good cheddar is Tillamook, from the Oregon coast. Cheap (relatively) here, no doubt not cheap in RI.

There is nothing inherently wrong with c-melodies--all other things being equal a Conn, King, Buescher or other name brand professional model C should play as well as the same make/model tenor or alto of the same vintage. BUT we are talking about horns made in the 1920s (mostly) so you have a lot of wear and tear to take into account, not to mention the effects on intonation of using modern alto or tenor mouthpieces (vintage mouthpieces are too 'stuffy' for most player's tates). Although prices have risen as demand rises to meet a set stock of old horns, they are still cheaper than comparable altos and tenors, even when mint, and aften way cheap when in need of major repairs (which can run far more than initial purchase price). The sticking point for me is that I have house repairs that need to be done but which I can't be sure of the cost depending on what they find re water damage so I don't really know if I can afford it. Not like that usually stops me from spending $! Oh, and thanks for the input everyone!

In addition to their wellknown BN dates, Woody & Freddie did an all-Brownie one for another label whose name I forgot, similar in personel, concept and quality. And how could we all forget to mention the genisus (?) of the two trumpet thing (even if they were technically playing cornets)--Louis & King Oliver?!

As I may have mentioned previously, i am the proud owner of two c-melody saxophones--a Conn and a King. I even play them occaisionally (ok, several times/week for a total of maybe 2-3 hr/wk). Can't say I play 'well' by any definition but I do enjoy them. Now I see a Buescher c-melody in a local shop, not restored, like new! Big deal you say? This is a pre-WWII horn and it looks like it's never been played. So am I insane for wanting to spend $600 to get it? I know I'll have to sell at least one of my other horns to afford/justify it...so, what do you say fellow sax maniacs?

sometimes one, sometimes the other, sometimes both or neither. Seriously, i think we had a long and informative thread on this v. subject not too long ago; perhaps some kind soul could link it? Personally, i like Art Pepper's Winter Moon and stan getz's Focus.

Billy Reed's would be the place on MLK Blvd, mixed bag of music but nice to see somethoing happening in the 'hood. Something unique you might look for is a guy called Shoehorn who taps while playing sax--sure it's a gimmick, but he's actually pretty good at both!

The former Jazz de Bogus is now a strip club (like we don't alreay have enough, this must be the dancer bar capitol of the world)--it was always too small to be a live music venue, but I did see Dexter there decades ago. The Blue Monk is also a nice venue and there is plenty is live jazz and blues around town.

Yes, that's the one I meant, the one on The Sky is Crying, which also has a nice cover of Lonnie Mack's "Wham!"

Good Hendrix covers are truly few and far between for my tastes too. I remember Stone Free as uneven and merely OK on the whole. The Nigel Kennedy Experience was impressive live, but I don't listen to the CD much (at least as a fiddle player, he has the advantage of surprise/unexpectedness). I thought the postumous SRV reading of "Little Wing" (not the medley with "3rd Stone", the other one) was quite nice--not as literal as his "Voodoo Child" but not trying too hard to be different either). Los Lobos (who are the kings of cover versions, see their box set for lots of examples) did a v. nice "Are You Experienced" on something called Searching For Jimi Hendrix which is otherwise quite weak. Even Booker T. & the MGs (who rule, see my forthcoming entery in the '60s band thread) came off as kinda clunky when they did "Fire" ("Move over rover and let Jimi take over!"). I thought Miles use of a little bit of "Wind Cries Mary" on Filles was quite nice, but it's not quite a 'cover' is it? Still, I'd love to hear Bill F. take a whack at it. Haven't got the WSQ album of Hendrix covers yet, anyone here heard it?

Just thought I'd add that for me the records that are absolute MUSTS to have in mono are Motown singles--the stereo mixes just stink right up til just about the time they left detroit (somebody should've met Gordy at the city limits and forced 'em to stay in town).

the first Stax/Volt singles box is all mono (til '65 that's all they had). Not sure about the later two Stax/Volt boxes. The Otis Redding 45s of "Respect" and "I've Been Loving You Too Long" were apparently done right before they got the new equipment and then redone for stereo when he came back to do the LP (all in a 36hr period when the studio guys had a club date right in middle). The mono sound is better, but "I've Been Loving You..." is a better, longer performance. One of the two b-sides ("Old Man Trouble") was redone in stereo, the other was a non-LP track. Confusing, but a good argument that you don't need to fuss forever to make a great album. Last night I saw Fleetwood Mac working on their current album on VH1: it was like negotiating world peace to get one track mixed!

My suggestion: load 'em up in the multi-changer, hit random play, go about your business and don't even look at the credits, at least not until you hear something you really like. Not how I did it, but just a thought.

I too like the Goin' West cover, but I LOVE the music (surely inspired by Rollins' magnificently off the wall Way Out West) and I'm completely bummed that the RVG doesn't contain these outtakes: "Home On the Range" & "I'm an Old Cowhand" (later redone by Grant with Larry Young).

How 'bout all purpose Chess (and Argo & Cadet) session dude and future E, W&F leader Maurice White? (alt. answer)

Happy b-day from the Peoples Republic of Portland

I thought that one track on the Lost Sessions CD ("Don't Even Go There"(?!), surely named long after the fact) was kinda stiff and awkward, but no more so than a lot of jazz-funk. The 'lost session' I'm dying to hear is the Bobby Hutcherson R&B covers session from '70/71(?); again one (or two?) cuts have emerged on sampler(s) ("Family Affair" & ?). [Do I get a prize for gratuitous overuse of {parens}?]

I'm no fan of Gibson, nor am I Christian, and will probably not go see this movie as I'm sure I'd find it horrifying. But, know what?, a crucifiction ain't a walk in the park so I'm not sure what else the film coul've been other than what it is, especially since it's trying to make an impact on viewers inured to violence in other films. Nonetheless, there may be some picking on Mel, but the critics may also be just trying to cover their asses so no one can come back and say 'you didn't tell me it was gonna be so bloody gorey'. Jeez, do think this is ambivilent enough?

A sad day indeed, but at least she lived to see the vindication of having their studio on McLenore recreated from the ground up for the Soulsville museum. I think I'll go home after work today, get out the new fake book and try to learn Soul Finger & Soul Limbo.

As long as we're (sorta) talking 'bout Orleans, isn't one of shania's hits a dead ringer for "Still the One"? Or does Mutt own the copyright on both of them?

The Electric Fetus at Franklin & 4th Ave., near the junction of I-35 & I-90 in Mpls is the best new CD store in the Twin Cities (I worked there ong ago) but they didn't have used before they expanded and I'm not sure if they do now. If you want LPs the Record Collectors Co-op in the basement of Oarfolkjokeopus (surely the worst name for a record store, at least people can remeber and spell Electric Fetus) on Nicollet(?), but it would be worth checking the phone book to see if the're still there. My friend Kent Hazen had a nice used record store (Hazen's?) on E. Lake, but again it's been a long time. Cheapo's name pretty much says it all, they have branches all over. Great towns (they really are v. different), but get a good map, the street layout can be v. confusing to newbies.

I think we've had this discussion before and I piped in with some rude but oh sooooo clever putdown, but I can't remember what and I'm too lazy to find it and post a link...

You can count me among the admirers of Lee W., even though all I have is an LP of Night In Manhatten and an odd appearance on part of a Jess Stacey date on Commadore (I think that's right).