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Everything posted by The Magnificent Goldberg
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Name Three People...
The Magnificent Goldberg replied to Jim R's topic in Miscellaneous - Non-Political
Lucifer Seytane Coumba Gawlo -
Well, Tom, there’s a lot of music in there that comes from areas of jazz which I just don’t like enough to have listened to much, so I can’t identify any more than one cut. But a lot was kind of interesting and clarified one of the reasons I don’t like it much. So thanks for that. I wrote this a few days ago, one evening and the next day, which explains why... 1 The alto player quotes (or is he playing the tune?) a Brazilian tune I know but can’t identify. I thought I wasn’t going to like this when the alto player started off all spiky, but he soon settled down into a flow. This is very pleasant, without being actually stirring. Yes, he’s back to that tune I know but don’t know at the end. 2 Sounds like a band of retro-nuevo hard bop players, plus a trumpet player who really does sound like he comes from the sixties (go on, tell me it’s Wynton!). I like the drummer quite a lot; he’s got that Charlie Persip thing that so irritates Jim Sangrey down to a T. 3 Interesting intro to what at first sounded like a good train song, but turned into a piece of jazz music. I was getting quite cheesed off with it but, when the guitarist came in, it got interesting again. But then he went off into just playing, like the tenorman. 4 A very Duke Pearson-ish intro; very straightforward and lyrical. Then a trombonist with no voice to his instrument; a bit of piano, then a very quiet bass solo. Those Duke Pearson type bits keep coming in, but to no effect. Possibly the fact that I’ve just been listening to Willis Jackson’s ‘Swivelhips’ has put me in the wrong frame of mind to listen to this, but it’s really not clear to me why people make music like this. 5 Spanish guitar intro, leading to a very Spanish feeling piece. The tenor player has learned his ‘El barrio’ lessons well. The trumpet player and pianist are both well into this, too. And the guitarist, too. I’m rather enjoying this, though it sounds like it’s music that’s been learned rather than absorbed from the community through childhood and youth. I suppose that’s what happens when a music dies, though. 6 Nice walking blues. Oh, now they’re trying to be clever. The tenor player has a bit of gumption, however. The trumpet player has a bit less and the baritone player seldom makes use of the wonderful sound the instrument can make. 7 ‘Spirit take my hand’. Oh, this sounds like something! Oh yes, the man is telling his story; preaching his words. Well, that was bloody WONDERFUL!!!!!! Thank you, Tom. Stopping there because it’s bedtime. 8 This tune sounds like an advertising jingle! Very cheerful throughout the head with an apparently old-fashioned trumpet player in there. The solos have considerable charm, helped by the head (or a variation thereof) coming in in the background. Are there two trumpet players? I like both. I’m pretty sure these are all modern players, even the old-fashioned trumpet player. I like this; it’s not the sort of thing I’d buy, but if you played me it (oh, you just did!), I’d listen with great enjoyment (oh, I just did!). 9 Those jagged chords to start off with, and the spiky melody, to start off with next, don’t sit well with me. In comes the pianist for a short while, quietly, as if to say, ‘no, we didn’t mean all that nasty stuff’, but they did, because here it comes again. But when the pianist solos, he’s all wholesome retro hard bop. So’s the trumpet player; equal helpings of Lee Morgan and Freddie Hubbard – not a trace of Melvin Lastie or Waymon Reed – shocking! 10 Oh, something John Patton-ish this way comes, amazingly, called ‘Along came John’. I suspect Jim Alfredson. I haven’t heard his tribute to John Patton album, ‘Dirty fingers’. It’s OK, but honestly, I’d sooner hear this material by Big John. I didn’t like the trumpet player or tenorman much; both seemed to be too focused on ‘doing something different’, rather than being themselves. Of course, there was a John Patton tune in my last BFT, so I’ve got no room to talk, have I? 11 A snatch of melody I know. It sounds like a George Braith tune. Strange; I wouldn’t have thought any modern musicians would play his tunes. Wouldn’t have thought any other musicians COULD do Braith’s ideas justice; like George Freeman, Braith is a total eccentric. He should be left alone to do his things. (This’ll turn out to have nowt to do with George Braith, in the end, I bet.) Well, we'll see. Sure hope someone fingers #7 soon, as I want to get it. MG
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BFT122 The answers
The Magnificent Goldberg replied to The Magnificent Goldberg's topic in Blindfold Test
Yes, I did lose track. I was having so much trouble posting the images - it kept telling me that I wasn't allowed to use that extension, but it doesn't tell you which one's wrong - and if you've got two out of several wrong, and you don't know which two... MG -
What vinyl are you spinning right now??
The Magnificent Goldberg replied to wolff's topic in The Vinyl Frontier
Dug out my Howlin' Wolf albums today. Some time since I listened to them. These two cheapo twofers contain Moanin' in the moonlight Howlin' Wolf The real folk blues More real folk blues I've never felt the need for any more Wolf since I got these in 1983. MG -
Name Three People...
The Magnificent Goldberg replied to Jim R's topic in Miscellaneous - Non-Political
The Beach Boys Heavy D & the Boyz Wham -
BFT122 The answers
The Magnificent Goldberg replied to The Magnificent Goldberg's topic in Blindfold Test
15 Willie Bobo - The thrill is gone. From Do what you want to do Sussex SXBS7003. Steve Hufstetter (tpt, flg), Ron Starr (ts), Reggie Andrews (el p), Barry Zweig (g), Victor Pantoja (cga), Willie Bobo (timbales), Jimmy Smith (d). LA c 1971. Well, yet another Willie Bobo on the BFT. No reason, but Mr Starrs solo is just splendid. He is the guy at the far right edge of the cover photo. 16 Fats Domino - Dreaming. Imperial 5209. Taken from The early Imperial singles Ace CDCHD597. I forget who said theyd heard enough Fats Domino style triplets; obviously he hadnt heard enough to recognise the real thing. I just put it in because I like it. 15 Afro-Blues Quintet Plus 1 - Evening of the beast. From Afro-Blues today Crestview CRS3054. This and other tracks from this album are believed to have come from earlier sessions, so the personnel is probably the same as on #1. The tune is, of course, a John Patton number, from the LP Let em roll and shame on everyone who didnt recognise it. That's the lot. Like to see what you say to some of this. MG -
BFT122 The answers
The Magnificent Goldberg replied to The Magnificent Goldberg's topic in Blindfold Test
9 McKinneys Cotton Pickers - Gee baby, aint I good to you. Victor 38097. From Put it there Frog DGF25. Joe Smith, Leonard Davis, Sidney DeParis (tp), Claude Jones (tb), Don Redman (as,vcl,arr), Benny Carter (as), Coleman Hawkins, Ted McCord (ts), Leroy Tibbs (p), Dave Wilborn (bj), Billy Taylor, Sr. (tu), Kaiser Marshall (d). New York, 5 November 1929. As Spoontaneous said, the greatest studio band ever. Well, not quite a studio band; Don Redman and Dave Wilborn were members of the real McKinneys Cotton Pickers; Claude Jones had been, but had left about six months earlier to join Fletcher Henderson and Joe Smith would join the band a bit later. The story is that the band so reliable at filling the Greystone Ballroom in Detroit that the National Amusements Corp which owned the place, refused to let them go to New York, even to record for Victor. So Redman and Wilborn were deputed to make the journey and Redman was to hire appropriate musicians. Of course, he knew most of them from his days with Fletcher Henderson. The solos are by Benny Carter, Joe Smith (muted) and Sidney De Paris (open) and the vocal is, of course, by Don Redman. I love the way he sings this; its a complete contrast to anyone elses vocal style from that time (I think) and sounds really quite modern. And its a great song, too. 10 Don Braden - Moonglow. From Organic Epicure BK66873. Don Braden (ts), Russell Malone (g). New York, 21/22 September & 20 December 1994. One look at the personnel of this album, which includes David Newman, Jack McDuff, Larry Goldings, Cecil Brooks III and Winard Harper, was enough to secure a purchase. But its possibly the most disappointing album Ive ever bought. The sleeve notes give the game away. Joel Dorn, the producer, noted that Braden spent a couple of months swotting up on classic tenor/organ albums and consulted Bob Porter on the subject. Braden, in his own note, says that he was trying to get a party plus intelligence sound. Do what!?!?!?!? Well, anyway, he succeeded. But this track, Moonglow is rather lovely, which goes to show that even an arsehole can make a good record. 11 Teddy Edwards - Tango in Harlem. From Tango in Harlem, Verve 527468. Teddy Edwards (ts), Christian McBride (b), Billy Higgins (d). New York 21-23 December 1994. I just thought Id put something really good on next. Surprised no one got Teddy. 12 Billy Butler - Night life. From Night life Prestige PR7854. Jesse Powell (ts), Johnny "Hammond" Smith (org), Billy Butler (g), Bob Bushnell (el-b), Jimmy Johnson (d). New York, 21 December, 1970. Billy Butler was a well known master guitarist who is seriously underrated typecast by Honky tonk I guess. Jesse Powell is a little known Texas tenor player whos also underrated, though because hes not well known. Johnny Hammond Smith was the greatest player of ballads on the B3. And this track is perfect of its kind. Jim and Jim would have got this one immediately. 13 Groove Holmes & Les McCann - Carma. From Somethin special, Pacific Jazz PJ51. Clifford Scott (ts) (credited as Joe Splink), Richard "Groove" Holmes (org), Les McCann (p), Joe Pass (g), Ron Jefferson (d). Los Angeles, April 1962. Clifford Scott is another really seriously underrated player; another one typecast by Honky tonk. Joe Pass, in my view, is a seriously overrated player. He really only sounds happy working with people like Holmes and McCann. This is a Les McCann tune (as are all the others on the album) in Bebop style. It sounds to me as if Les borrowed it from part of a Sonny Stitt solo; it has that patented Stitt flow. Unlike Bradens attempt to create party plus intelligence this is the other way around Bebop for parties. Of course, I greatly approve. 14 Shirley Scott - The shadows of Paris. From Great Scott! Impulse AS67. Jerry Kail, Jimmy Nottingham, Snooky Young, Joe Wilder (tp), Urbie Green, Quentin Jackson, Willie Dennis, Tony Struda (tb), Bob Ashton, Romeo Penque (reeds), Shirley Scott (org), Barry Galbraith (g), George Duvivier (b), Johnny Pacheco, Willie Rodriguez, Osie Johnson (perc), Lillian Clark, Jerome Graff (vcl), Oliver Nelson (arr,dir). New York, 20 May 1964. Someone said who would think of putting all this stuff together? Well, there you are, Oliver Nelson. Id listened to this a few times before it really grabbed me, partly, I think, because I just assumed it was Shirley singing lead. Well, it aint, its Lillian Clark, whoever she is. Shirleys solo is beautifully clear and thoughtful and right in the vein of whats supposed to be happening here, whatever that is. I cant say I actually understand whats going on, it just grabs me. Part 3 follows MG -
Part 1 1 Afro-Blues Quintet Plus 1 - 3 /4-5/4-7/2 (liquid landscape). From the album New directions Mira LP(S)3010. Probably Joseph DeAguero (ldr, vib, tamb), Jack Fulks (saxes), Bill Henderson (pno, b, d, fl, vib), Bill Fitch (perc), Jim Kellner (d). Unknown location (but almost certainly Los Angeles) 1966. This is a band thats relatively unknown in jazz circles, but the players are by no means unknown. Jack Fulks is a former Chico Hamilton sideman. Bill Henderson had been with Terry Gibbs and was later with Pharoah Sanders. Bill Fitch had done time with Tito Puente and Cal Tjader. And Jim Kellner had been with Gary Lewis & the Playboys! (HUH? Oh well.) This is apparently the same band that played on the final track of the BFT. 2 Gloria Lynne - The secret o life. From the album From my heart to yours HighNote HCD7162. Gloria Lynne (vcl) acc by David "Fathead" Newman (fl) John DiMartino (p) Greg Skaff (g) Leon Lee Dorsey (b) Vincent Ector (d) P.J. Allen (tamb). New York, January 11 & 12, 2007. This was from Glorias last album. She was a great singer and, in my view, got better throughout her life. She was 77 when this album was done. I think she understood this song in a way I find it difficult to believe that James Taylor could have done. 3 Lionel Hampton - Recado. From the album Bossa nova jazz Gladhamp GHLP1004. Bobby Plater (bar) Lionel Hampton (vib) Edwin Woldin (p) Jose Paulo (g) Lawrence "Skinny" Burgan (b) Don Michaels (d) Danny Barrajanos (cga). New York, September/October 1963. An album to cash in on the bossa nova craze, which has never been reissued on CD. The whole LP is really nice and has what sounds to me like an authentic feel to it, to which Carmen Costas vocals on some tracks contribute greatly. Bobby Plater was with Hamp forever, but didnt usually play baritone sax. His playing really got me on this. 4 El Chicano - Youd be so nice to come home to. From the album Painting the moment Thump TH9903. Bobby Espinosa (synth, p, kbds, org), Hector "Rudy" Regalado (perc, timbales), Tony Rosa (cga), Lance Lee (d), Sal Rodriguez (d), Cleto Escobedo (as), José Papo Rodríguez (cga, timbales), Robertito Melendez (cga), George Lopez (b), Bruce Conte (g), Mickey Lespron (g), Bobby Loya (tp). Probably LA, c1998. This tune was mistitled Inolvidable (Unforgettable) on the album, which makes it hard to search for on the web. And yeah, this is a Tex/Mex version of smooth jazz. Sometimes smooth jazz is worthwhile music and I reckon this is at least as good as Wes Montgomerys smooth jazz albums for Creed Taylor. 5 Momo Wandel Soumah - Afro blue. From the album Momo le doyen Buda 860221. Momo Wandel Soumah (saxes), Mamady Mansare (fl), Khali Camara (balafon), Fatou Abou Camara (djembe). Probably Paris, 1995. Momo was one of the great sax players of the Guinean big band period of the seventies and eighties. He played with Orchestre Syli and later with Keletigui et ses Tambourinis, and made a few 45s as a leader, all for Syliphone. He had recorded Afro blue before, on his 1991 album Matchowe but that version which is seven and a half minutes long, is much more a blowing job than this, which seems to paint pictures as it may well have been intended to for the film L'Enfant Noir. (That version features the same musicians as this, with a couple of additional guys on various drums.) 6 Johnny Lytle - Mine. From I giganti del jazz Curcio (It) 93. Johnny Lytle (vib) Albert Dailey (p,el-p) unknown (b), Chester Thompson (d) Kwasi Jayourba (perc). Probably 1970. Johnny Lytle seems to fool people. No one got him the last time I put one on a BFT (and I didnt get him when Big Al (I think) included one of his either). Hes a much more interesting musician than most people think. 7 Rex Stewart - Danzon damor. From Rendezvous with Rex Felsted 7001. Rex Stewart (cnt), Hilton Jefferson (cl,as), Garvin Bushell (cl,bassoon), Dick Cary (p,tp), Everett Barksdale (g), Joe Benjamin (b), Mickey Sheen (d). New York, 31 January 1958 A few of you got the idea that these were older musicians. Well, yes they are. But I doubt that, in early 1958, thered have been any Sun Ra influence on these gentlemen. I was gobsmacked when I got the Felsted box and heard this cut. But quite apart from the coincidental resemblance to some Sun Ra elements, this is, to me, an utterly charming piece of music. 8 Joe Torres - Get out of my way. From Latino con soul World Pacific WP1857. Gary Barone (tp), Bill Hood (ts), Victor Feldman (p), Max Bennett (b), Jose Torres (timbales), Bobby Torres, Orlando Lopez, Mario Tholmer (perc), Ric DeSilva (vcl). Los Angeles, late 1966/early 1967. Well, some well-known names in this Latin band, too. I imagine the LP sold quite well in LA and even elsewhere in California, but bombed everywhere else, so they never made another album. A pity, because theyre a very jumpin band. I wondered if anyone would pick up on Hoods very Harold Vick-like intro, but that didnt confuse anyone. Oh well I never knew this was in a film some years ago. So it's not as obscure as I thought. Thanks Page. Part 2 follows. MG
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Name Three People...
The Magnificent Goldberg replied to Jim R's topic in Miscellaneous - Non-Political
Peter Shore Artie Shaw Sandy Shaw -
Oh, another guy I met - in Newark - was tenor player Jesse Morrison. He was really very nice, as well as being astounded that someone from England had even heard of him! Gloria Coleman was in his band at that gig and I talked to her afterwards. She was very nice, too. And amazingly competent at folding up her little keyboard onto a shopping trolley I met Lloyd Wilson in Newark, too. He was with the Prysock Brothers. Had a nice chat with him and found out that he comes from the same home town as me in southern England. MG
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I've met relatively few jazz musicians but Les McCann, when I did meet him a few years ago, fully lived up to the way he projects through his music. Junior Mance I haven't met but to see him at work you just know he's a really nice guy. And Chuck Nessa has confirmed that (though I think he was damning him with faint praise ) MG
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Name Three People...
The Magnificent Goldberg replied to Jim R's topic in Miscellaneous - Non-Political
Doc Sausage Rob Burger Porkchop -
I suggested to Tom that he should wait until June 1, so that everyone would concentrate on your wonderful BFT 122 until then, MG! Grrrrr. Well, OK MG
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Great Solos In Blue Note Records History
The Magnificent Goldberg replied to Hardbopjazz's topic in Miscellaneous Music
Pepper's listed under "other reeds". Yes, you're right. I don't know the Lee Morgan record at all, so I scarcely noticed its mention. MG -
Great Solos In Blue Note Records History
The Magnificent Goldberg replied to Hardbopjazz's topic in Miscellaneous Music
It's SUPPOSED to be silly and arbitrary; it's the 75th anniversary marketing ploy MG -
How do the Bennie Green's compare to his BN dates. ? 'Walking down' is one of BG's best ever. Seems silly to say this is or ain't better than 'Soul stirrin''. Any BG is worthwhile BG. MG
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Name Three People...
The Magnificent Goldberg replied to Jim R's topic in Miscellaneous - Non-Political
Robert Kilroy Silk Lonnie Sattin The Satins -
Best track you heard all week
The Magnificent Goldberg replied to jazzbo's topic in Miscellaneous Music
Waymon Reed had an interesting career, for a musician few people have heard of. Worked with Ira Sullivan, James Brown, Count Basie, Thad Jones/Mel Lewis, All Star Trumpet Spectacular and Sarah Vaughan (to whom he was married), before dying of cancer. Nice leader date on Artists House, IIRC Yes, it's really nice. Jimmy Forrest is great on it, too. MG Track 7 of BFT123. Thanks Tom, it's bloody wonderful!!!! MG -
Great Solos In Blue Note Records History
The Magnificent Goldberg replied to Hardbopjazz's topic in Miscellaneous Music
Well, I was right, no baritone solos mentioned AT ALL! Not even Pepper Adam's on 'Baptismal' from Turrentine's 'Rough & tumble'. I counted that I have only 22 of those listed, even though I see I have 322 Blue Note albums. Obviously I'm not a jazz fan MG -
Great Solos In Blue Note Records History
The Magnificent Goldberg replied to Hardbopjazz's topic in Miscellaneous Music
Without looking, I bet that Fred Jackson's baritone solo on the title track of 'The way I feel' isn't included MG -
How's the weather?
The Magnificent Goldberg replied to GregK's topic in Miscellaneous - Non-Political
Sun and showers. More of the same to come but mostly dry. I didn't need my coat to take the dog out this afternoon, but I did wear my jacket MG -
When are you opening the discussion forum, Tom? There's something wonderful in there which I'm sure someone will know about and I'm dying to find out who and what it is MG