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The Magnificent Goldberg

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Posts posted by The Magnificent Goldberg

  1. Another, crucial factor in all this evolution that cannot be overlooked is the decimation of instrumental music programs in urban schools, especially in the "inner-city".

    They've never had instrumental music programs in urban schools in West Africa. And the governments that sponsored bands in the sixties and seventies fell to the World Bank. Most of the bands are young, not old guys (though there are some of them still about).

    I'd think that your argument was special pleading, but I know you're not in the jazz education biz.

    MG

    Point being simply that there was a fundamental change in the "tools" that were widely/generally available to the inner-city American youth, but not a correlative diminishing of creative energy or impulse. So instead of saxophones and trumpets, you get people starting to work with records and turntables, and practicing rhymes and flow instead of scales and arpeggios.

    Also in West Africa - people started making music with saxophones, trumpets, trombones, guitars, basses, electronic keyboards (and a bit later turntables), none of which were widely available to inner city West African youth. I did say I wasn't arguing against you. The point I was trying to make was that in America, inner city youth weren't compelled by the system to take up turntables, any more than in West Africa they were compelled by the system to take up saxes etc - they did so from plain choice, to make the music they heard in their heads.

    MG

  2. Clarence Wheeler & the Enforcers - The love I've been looking for - Atlantic

    Picked that one up back in the day for 50p. WH Smiths ! An enjoyable listen.

    Yup! Back in the day, this stuff, when you saw it, was dead cheap over here :)

    This afternoon

    Howlin' Wolf - two Chess double LPs issued by PRT comprising

    Moanin' at midnite

    Howlin' Wolf

    The real folk blues

    More real folk blues

    then

    Sonny Thompson - Cat on the keys - King (Swingtime Denmark)

    now

    Gene Ludwig - Now's the time - Muse

    MG

  3. Another, crucial factor in all this evolution that cannot be overlooked is the decimation of instrumental music programs in urban schools, especially in the "inner-city".

    They've never had instrumental music programs in urban schools in West Africa. And the governments that sponsored bands in the sixties and seventies fell to the World Bank. Most of the bands are young, not old guys (though there are some of them still about).

    I'd think that your argument was special pleading, but I know you're not in the jazz education biz.

    MG

  4. Ernestine (sometimes credited as Anisteen) Allen sang with Lucky Millinder's band from 1947 to 1954. When Millinder closed his big band down, she left music and took a day job except for occasional weekend gigs. This album came out of a gig with the Curtis band at Smalls', Brooklyn. As far as I know, she never recorded again. A shame. She doesn't sound like any other jazz or R&B singer I've heard. Very relaxed, creative, charming, funky as anything, baby!

    Actually that's not quite so, MG. Annisteen Allen (as she was mostly billed throughout the 1945-55 period) did record quite a bit for Capitol in 1954-55 (with backing probably by the Howard Biggs orchestra) after her tenure with Lucky Millinder had already ended. They have been reissued in the 80s on the "Fujiyama Mama" (eat your heart out, Wanda Jackson! :D) LP on (French) Capitol/Pathe Marconi. According to the liner notes of this and another LP of her slightly earlier sides she also recorded for Decca in 1956-57 and for Todd and Warwick in 1959/60.

    Oh, good. I'll keep an eye out for that stuff. Don't supose it came out on CD, did it?

    Nothing after 1961?

    MG

  5. Sometimes an album will just up and hit you.

    I've just been listening to this Ernestine Allen album, made originally for Tru-Sound in 1961 and reissued on Original Blues Classics. It's not a blues album; doesn't sound like an R &B album to me. Sounds like a vey bluesy jazz album. Damn fine album, whatever.

    Produced by Esmond Edwards (I thought the Tru-Sound label was all produced by Ozzie Cadena - shows you how often I read these sleeve notes :)) Features the King Curtis band of the day - Paul Griffin (p), Al Casey & Chauncey "Lord" Westbrook (g), Jimmy Lewis (b) & Belton Evans (d). The band is in better than fine form. I've loved Curtis since I started buying records, but his (and the others') playing is really at the top of his form. Relaxed, but really playing stuff.

    Ernestine (sometimes credited as Anisteen) Allen sang with Lucky Millinder's band from 1947 to 1954. When Millinder closed his big band down, she left music and took a day job except for occasional weekend gigs. This album came out of a gig with the Curtis band at Smalls', Brooklyn. As far as I know, she never recorded again. A shame. She doesn't sound like any other jazz or R&B singer I've heard. Very relaxed, creative, charming, funky as anything, baby!

    One of those albums that gets under your skin. Almost certainly deleted, but probably easy enough to pick up on the cheap from lots of places.

    MG

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