The Magnificent Goldberg

Jr Walker & the All Stars - Shotgun - Soul (Music for Pleasure UK cheapo - mainly instrumental) MG

I think I've just got to ask, does it matter where jazz musicians live? Does it matter where folk singers live? Or first trombonists in symphony orchestras? Or rock guitarists? Or systems analysts? Or bus drivers? MG It may. When a group of artists/musicians/deli owners living in a community is displaced and dispersed, they don't collectively relocate and continue their community in another location. They are gradually displaced one by one. Their connections are severed, to some degree -- maybe entirely. They no longer share a community, bump into one another at the deli and make those continuous random connections that communities generate. Instead of bumping into that bass player at the coffee shop who you jammed with a few months ago and saying, "Hey, I need a bass player for my set next week at Club X," you're bumping into stock analysts and physicians -- so you end up with a more risky retirement plan and some new medications to try. Which in the end, may not be an entirely bad thing for you (the collective 'you'), but not so good for the bass player. You're right, but when people are displaced - yes, one by one - they often tend to wind up in places where they already have friends, or at least know some people. MG

Jeez! I was expecting maybe Jeffcrom to get this one, not you! Bloomin' fantastic! MG

MG

Do you know if there are releases of those recordings at the correct speed? MG I spoke too soon - it was indeed "Papa," not "I Got You," that was sped up. As for Gimme Some Lovin', see this Wikipedia entry: Wikipedia. MG, you may not have known of it because you're probably familiar with the version issued in the UK. Well, I did buy 'Gimme some lovin'' when it came out. And I do have it on this CD: But I don't play various artists compilations much. And I prefer Funk Inc's version of the tune. I have another version, too, but can't recall who did it. So I wouldn't say I'm familiar with the Spencer Davis version. The Wiki article is interesting. I THINK that the CD I have presents the original Fontana release, but I didn't keep the 45 for many months back in the day, so I really can't be sure. Funny that the Wiki article seems to avoid referring to black versions of the song. MG

Is that an EP? It only looks about 7" square. MG Start a new thread - album sleeves showing people holding musical instruments wrong MG

I think I've just got to ask, does it matter where jazz musicians live? Does it matter where folk singers live? Or first trombonists in symphony orchestras? Or rock guitarists? Or systems analysts? Or bus drivers? MG

Come on, now. Lou Donaldson certainly recorded plenty of "soul jazz" sessions, but "Lush Life/Sweet Slumber" is not one of them. Does not fit that mold at all. It's too sophisticated and highly arranged to be in that category, imo, not to mention the emphasis on ballads, and the fact that it was what Gitler referred to as a "little big band". It's one of my favorite Donaldson sessions ever, and I think it's misleading and even a little insulting to refer to it as "soul jazz". Don't pigeonhole Lou. He had plenty of range before (and after) he started emphasizing soul jazz. I knew someone would get me on that, but I was trying to be generous to Hubbard's range on BN. OK, so he didn't make even one soul jazz session for BN - but he did for Atlantic and CTI, so that's kind of interesting in itself. One wonders why Alfred and Francis didn't get him on soul jazz... MG

That's what I wanted to know - thanks Jeff. So, the frequency of a particular note is more like a small range than an exact number, since we can't tell the difference. MG

MG

No - try this on a calculator: Work out what five percent of 100 is - OK, do that in your head 105. Now work out (on a calculator) what 95% of 105 is - it's NOT 100. I believe you there. It's the audio equivalent of an optical illusion. MG

Not Ernie Andrews. You do know this vocalist. Not any of those. Another vocalist I'm sure you know. You'll be surprised MG

Jack McDuff - Check this out - Cadet Nice hot album, with Vinnie Corrao and great sax section - Red Holloway, Dave Young & Leo Johnson - recorded live in Berlely at Mandrake Club 1972. Reminded I had it by Cyril's posting in the multiple image sleeves thread a few days ago. Sleeve photos by Joel Brodsky. MG

Strange, it shouldn't be. B is 5.9465% higher than B flat. But B flat is 5.6127% lower than B. (105 is 5% more than 100, but 100 is only 4.7619 less than 105.) So you don't slow down as much as you speed up. MG

"You can if you have the forum to place our banner internet store runoff-24." That's a pretty lazy spammer. No links, no nothing. That's a slick bit of translating, Scott. Gooogle no doubt. Thanks. MG

Yes. MG

Duh? [This is a very slow double take - I had to read all of the previous page to check ] MG

I certainly shan't because I can't access the story And I'm not interested in flog. MG

So, what you're saying is that, when a record's sped up (or slowed down, as someone noted), the inaccuracies that are inherent in speeding up by a constant amount are too small to be noticed. MG

If you're talking about a trunpet player who best represents Blue Note's work in the sixties, I don't think there was one. In this period, BN mostly recorded bebop/hardbop and soul jazz, with a smallish number of somewhat outside albums and an even smaller number of very outside albums. Hubbard certainly worked on a lot of bebop/hard bop albums and a fair few of the outside ones (there are quite a lot of these that I haven't heard). But he only ever appeared on one soul jazz album - Lou Donaldson's 'Lush life'/'Sweet slumber' and I don't think many Hubbard fans would say that the two solos he took in that album ought to carry much weight in a discussion like this. Lee certainly appeared in a handful of soul jazz albums in the sixties - the two with Lonnie Smith and 'Love bug' were outstanding examples of the genre. (And, of course, millions of hard bop albums ) But I don't think he made or appeared in any more than one outside albums in the sixties ('Evolution'). The trumpet player who seemed to divide his time fairly evenly between bebop/hard bop and soul jazz was Blue Mitchell, working with all kinds of musicians in those genres, but never once stepping outside to see if it was raining. But his work truly represents both those genres beautifully. So no one covered all points Blue Note. MG

Do you know if there are releases of those recordings at the correct speed? MG

Yes, that's what I'm on about. 7/4 hasn't dropped in, yet... Anyway, it's something like what you say about Johnny Hodges; that he (and Teddy Edwards, Sidney Bechet and some others) played an infinite number of notes. I know you don't really mean infinite, because it would take an infinitely long period of time to play that, but I do understand very large indeed So, if not infinite, the notes they play between C and C# must be more like a flight of very tiny stairs than a lift (elevator). I can't hear those steps as separate steps but as a continuous smooth movement (as in a lift, which passes through all possible points). But I expect you can. Or can you? Perhaps you hear it the same way I do, which is kind of an answer, because if you also can't hear these steps, maybe you couldn't hear the difference between a frequency of 293.66 Hz (D nat above middle C) and 293.6542 (C# raised by the same % as C# is above C nat). Or if you can hear those steps, you'd be conscious of the 'oddnesses' in a Fats Domino record. Alternatively, get a 78 of one of Fats' early recordings and an LP or CD version and play them back to back Hey, I bet Jeffcrom has both versions of 'The fat man'! MG

I think it's HMV Moscow - I'd guess that Moscow is the first word. MG

Must be spam MG

The Coasters - Besame mucho pts 1 & 2 - Atco (London UK, as illustrated, but not my copy) This is one of the 45s I've kept since I got it in 1960 - the only Coasters single I kept. It's not a comedy story; they do the song straight, with a Latin shuffle beat, but backwards! Part one is a solo from King Curtis, with the Coasters singing along in the background on the bridges. Part 2 is where the Coasters actually come in and sing the song, a solo vehicle for the bass man, Will 'Dub' Jones, who sings with a LOT of soul. I've never understood why Atlantic put a King Curtis solo on as part 1 and not the coasters singing. But I've never entirely understood why they'd make a single like this anyway. Oh, a little research on You Tube reveals that London got the sides mixed up!!!! Here's the complete recording in the correct order. MG