The Magnificent Goldberg

But also, in the early 80s I think, Pathe Marconi had started reissuing early BN single LPs. And I can't recall a time over here when you couldn't get BN single LPs from before Frank Woolf's death. They got hard to get and pricey in the period just after Liberty acquired the firm, and again in the period when UA was winding down and selling to EMI, but that was all. And we ALWAYS thought they were worth the money, didn't we? MG

I think that was partly the effect of 'Sidewinder', which spent seven months on the pop charts. Then Blue Note had to cope with another big hit - 'Song for my father'. Don't forget, the label was a bit of a one man, one lad and a dog firm. How much in the way of manpower resource does a firm need to handle a big hit album? 'Search for the new land' was delayed a bit longer than was usual with Blue Note, as a result, but was on the R&B chart in September 1966. MG

Welcome Holy Ghost!!! Do you mean that, as I did and do, you avoided getting Jackie McLean records or that you think he dominates his albums. MG

Can't say I enjoy Joe Henderson's leader dates for Blue Note: too much like hard bop. But I love 'Multiple', Canyon Lady' and 'If you're not part of the solution'. But as a sideman, with Johnny 'Hammond' Smith and others a bit later, he was as good as on 'Brown sugar'. MG

Around about the time he, Sonny and Billy James made that wonderful recording at the Left Bank show in Baltimore. I think it was kind of what he was like MG

Panic's over chaps. I'd hit a zoom button up the top somewhere. I can't see a zoom button now, but when I saw it and set it to 100% just now, i got a normal print. But I've still got this little arrow on the left pointing to a block manager. Is this part of the normal Organissimo screen? I've never seen it before. MG

Well, having listened to my selection, It doesn't feel greasy enough. Nice tempo. I added in at the end: Hip trip (Oh happy day) Sentimental journey (Patterson's people) I had them in on my first pass but cut them because, between them, they're almost 25 minutes. For really greasy Don Patterson, you have to go to the Muse period and have 'The world of Suzie Wong', "Why not', "These are soulful days' and Muse blues' - plus, of course, 'Hip cakewalk'. MG

Hell! I've hit a wrong key somehow and the board has gone small; I can only just read the print. There are two inch and a half wide grey stripes on either side and the left one has a little arrow saying, when you hover on it, "block manager". How the FUCK do I get out of THIS????? MG

Damn me! GREASE!!!!!! When was that, Larry? MG

I've never in my life even SEEN a German restaurant, except the one I went into in Namibia in 2002. (The only occasion since I left school 42 years earlier that I've ever had occasion to use the German I learned there, but surprisingly hadn't actually forgotten). MG

Giggle giggle!!! MG

Well, I've got 14, pulled from my hard drive in alphabetical order of album titles, and totalling 79:29 Island fantasy (Boppin' & burnin') Creepin' home (Bros 4) Sandu (4 dimensions) My man String (Funk you) Funk in 3/4 (ditto) Donald Duck (Hip cakewalk) Santa Claus is coming to town (Holiday soul) Merry Christmas baby (ditto) Head (Mellow soul) Good time theme (Oh happy day) Please don't talk about me when I'm gone (Patterson's people) Goin to meetin' (Satisfaction) Walkin' (ditto) Wade in the water (Soul happenin') Listening tonight and over breakfast tomorrow. MG

Never tried this. I don't think I'd choose more than a handful of your selections though. Will give my mind to it after I've taken the dog out for his walk in the rain and hope he has a crap quickly and don't drag me down to the bottom field MG PS Just had a quick look at them all. HELLISHLY difficult! I did this a few years ago with Jimmy Smith and made a nice CD I still enjoy hearing occasionally called 'Easy greasy grooves'. 1 Plum Nellie 2 All day long 3 Hollerin' and screamin' 4 Since I fell for you (alt) 5 I'm just a lucky so and so 6 Midnight special 7 Back at the Chicken Shack 8 I've found a new baby 9 Hotel happiness 10 Bucket 11 When my dreamboat comes home It's nice, though I say so myself. MG

Steve: what about Machito? Charlie Parker and Machito not for dancing? Charlie Parker & strings out on a tour of ballrooms not for dancing? Yes bebop WAS for dancing, but stopped being for dancing and I've never understood why. MG

Ah, so you understand where Steve and I are coming from MG

Yeah, and it takes longer, too. Everything takes longer. MG

I didn't say eternity, Jim. I said when we're all dead and buried. That's not going to be very long, in a historical timescale. But we all won't give a fuck. MG

Hey! That's where we live! MG

Another typo and I've lost my goddamn post! OK, for the third try... What I THOUGHT I'd typed was "Larry's first post and subsequent points are all about people rewriting history." Sometimes my cursor goes into different places without me noticing, because, even after almost 40 years, I STILL don't know where the letters are and have to watch the keyboard. MG

Actually SImon, that was a typo - I misseI don't .... Fuck. another. I'm typuing while I'm eating.

She's the reason I flogged my LP. MG

Goodness, Clunky!!!! That was unexpected. I hope you enjoy it nearly as much as I do. MG

As ever, it does depend what you want. https://www.amazon.co.uk/1953-1964-Ella-Johnson-Buddy/dp/B00000ASU7/ref=sr_1_55?s=music&ie=UTF8&qid=1521653621&sr=1-55&keywords=buddy+johnson I got a copy from Discogs, without box and sleeve notes, just the CDs, in January for £55 which was as much as I would have paid for the music. But there was a complete copy for over a century. They've gone now; Discogs haven't got any. And £193 is what you'll pay at Amazon UK. MG

Actually, I don't think we are getting off-topic. Larry's post and subsequent points are all about people rewriting history. To me, this isn't so much that people are deliberately trying to distort things as that no one can know all of the history. The problem is that people think that they DO know all of the history when they only know one part of it (the 'authorised version' as it were). But once one realises that there IS at least one other version, and that it has its own legitimacy, it ought to follow that one ought to at least have a nodding acquaintance with the other versions. I'm not sure that THAT'S happening much. No, I AM sure it's not happening much. And it leads to people making provocative statements that are, because they only know one side, tantamount to rewriting history. Well, life goes on and black people will still be dancing to funky music when we're all dead and buried. MG

Oh, and the music wasn't 'supposedly' dance music in the forties. As you're so intent on history, I'm sure you know that Charlie Parker went on a tour of ballrooms with Willis 'Gator Tail' Jackson. And they played together. Gator knew Parker could outplay him (though Von Freeman didn't a good many years later) and, after a few choruses stepped back and just let Parker play - OK. But Gator was no mean player; he was just doing something different. Steve's wrong about the black public at large not giving a hoot about Parker. He's VERY well respected in that part of society; almost all soul jazz musicians included bebop tunes at gigs and on albums and it's clear the audience knew what was going on. But Parker was not LOVED by the black public the way Gene Ammons and Arthur Prysock were. I saw Arthur and his brother Red in 1990 in Newark, NJ. Three other white people (apart from me) in the ballroom and EVERYONE except a little old white lady who, with her Mum, had run one of those hotels black musicians were allowed to stay in when on tour and knew Arthur (and Parker and Bobby Bland) was dancing. And the feeling in the place! Best gig I've ever been to, even including Ouza in Dakar. I don't imagine you'd have liked it and I'm not trying to persuade you to like it. But your view of jazz history is definitely coloured white. Somewhere here, Jim Alfredson has written up some experience(s) with smooth jazz musicians in black ballrooms in Michigan. I couldn't find it again if I tried but I know Jim is carrying no torch for smooth jazz, but the main burden of what he wrote was that it's still out there for black youth and they're still dancing to it. History isn't what 'authority' believes; it's everything that happened. And no one knows it all because there's too much to know and too many societies in which different things happened. MG PS, for a different view, try to find a short story by Leroi Jones, called 'The Screamers' which deals with a gig of Lynn Hope in Newark in the early fifties. Apart from anything else, it explains WHY the honkers and screamers were necessary in black society. Also take note of Ornette Coleman's words on the sleeve of 'Ornette on tenor'.