The Magnificent Goldberg

Certainly. MG

Looks like a good discussion - why don't you start a thread about that? I would but I've been thinking so much about organ records with horns but no guitars that my brain's gone soft and furry. MG

True. So has Barry White. MG

I've got to say, my wife and I love our dentist. We've followed him from one practice to another over the past twenty/twenty-five years and we now live a fairly inconvenient distance away - about an hour's drive. But that doesn't deter us. I need to fix an appointment with him now for an annual check up. Daughter and grandsons also go to him. If you get a good dentist, keep a firm grip on him/her. MG

Well, I was going to say, about the same as here but instead, I'll say Not if you want them to use the pole. MG

How lucky you are in America! I've never even HEARD Kenny G. Ha ha ha ha ha ha!!!!! MG

Have a great one!!!! MG

What's the price in your local brew bar? MG

Yeah, mine (a UK Xtra issue) says the same. I reckon they all do. this afternoon Hugh Masekela - Home is there the music is - Blue Thumb (UK issue) (horrid sleeve but great playing from Dudu Pukwana, Larry Willis, Eddie Gomez & Makhaya Ntshoko) Don Patterson - Satisfaction - Prestige (UK Transatlantic) MG

Actually, it doesn't matter WHERE the money comes from. Better to impose a "windfall tax", which our government did about ten years ago, and cop a few hundred billions to fund those developments than get the money from some other source, I say. All alternative energy sources have their environmental downsides. I've never seen - but I can't say I follow this assiduously - any report that seriously compares the environmental and other costs of different methods of producing energy. But clearly, if this had been done, we'd know what development path to follow. Since we appear not to know this, I guess no one's done it. But it seems a pre-requisite. Not doing it before has landed us where we are. MG

Odell Brown & the Organ-izers - Raisin' the roof - Cadet with Artee Duke Payne (as, ts), Tommy Purvis (ts) Curtis Prince (d) Odell Brown & the Organ-izers - Mellow yellow - Cadet with Artee Duke Payne (as, ts), Tommy Purvis (ts) Curtis Prince (d) Louis Satterfield (b) Master Henry Gibson (cga) Milt Buckner & Buddy Tate - Crazy rhythm - B&B with Wallace Bishop (d) Milt Buckner & Buddy Tate - Midnight slows vol 4 - B&B with Jo Jones (d) Milt Buckner - Midnight slows vol 6 - B&B with Arnett & Eddie Chamblee (ts) Panama Francis (d) Jack McDuff - Tough 'Duff - PR with Jimmy Forrest (ts), Lem winchester (vib) Bill Elliott (d) Melvin Rhyne - Organizing - Jzld with Johnny Griffin, Blue Mitchell, Gene Harris (p), Andy Simpkins (b) Albert Heath (d) Shirley Scott - A walkin' thing - Candid with Terrell Stafford (tp), Tim Warfield (ts) Arthur Harper (b) Aaron Walker (d) Arnett Cobb - Smooth sailin' - PR with Buster Cooper (tb), Austin Mitchell (org) Duvivier (b) Osie Johnson (d) A Cobb - - Blow Arnett blow - Witih Jaws, Wild Bill Davis, Duvuivier Edgehill Dinner time MG

Don Patterson - Mellow soul - Prestige with David Newman (ts, fl), Billy James (d) Sonny Stitt - The way it was: live at the Left Bank - Label M with Patterson & James. Rhoda Scott - Live at the Key Club - TruSound with Joe Thomas (ts), Bill Elliott (d) Rhoda Scott - Live at the Olympia - Barclay (Jazz in Paris) with Joe Thomas (ts, fl), Cees Kranenburg (d) Shirley Scott - Blue seven - Prestige with Joe Newman (tp), Oliver Nelson (ts), George Tucker (b), Roy Brooks (d) Eddie "Lockjaw" Davis & Shirley Scott Cookbook vols 1, 2 & 3 - Prestige with Jerome Richardson (fl, ts, bars), Duvuvier (b) Edgehill (d) Misty - MV no Richardson + Ray Barretto (cga) Eddie Davis Trio - Roulette Davis, Scott, Duvuvier (b) Edgehill (d) Goodies from Davis - Roulette ditto Jaws - Prestige ditto Smokin' - Prestige ditto + Jerome Very saxy - Prestige FOUR horns - Hawk, Arnett, Buddy Tate & Jaws, Scott, Duvuvier (b) Edgehill (d) Jaws in orbit - PR with Steve Pulliam (tb) Duvuvier (b) Edgehill (d) Bacalao - PR with Duvuvier (b) Edgehill (d) Ray Barretto Luis Perez (cga bgo) Probably some of the Jaws/Scott albums on King would also qualify but I ain't got any of those. Shirley Scott & Stanley Turrentine Dearly beloved - BN with Roy Brooks (d) Let it go - Impulse with Ron Carter (b), Mack Simpkins (d) Never let me go - BN with Ray Barretto and either Major Holley, Al Harewood or Sam Jones Clarence Johnston Chip off the old block - BN with Blue Mitchell, Earl May, Al Harewood Hip soul - PR with herbie Lewis, Roy Brooks Hip twist - PR with George Tucker, Candy Finch Blue flames - PR Cranshaw, Finch The soul is willing - PR Holley, Grasella Oliphant Soul shoutin' - PR Earl May, Oliphant Queen of the organ - Impulse with Cranshaw, Finch Shirley Scott - Oasis - Muse with Virgil Jones (tp), Houston Person & Charles Davis (ts) Arthur Harper (b), Mickey Roker (d) Shirley Scott - One for me - Strata East with Harold Vick (ts) Billy Higgins (d) Chester Thompson - Powerhouse - Black Jazz with Rudy Johnson (ts), Al Hall (tb), Ray Pounds on the drums Wild Bill Davis - That's all - Jazz Connaisseur with Plas Johnson (ts) Butch Miles (d) Teddy Edwards - Heart & soul - Contemporary with Gerry Wiggins (org), Leroy Vin (b) Milt Turner (d) Wild Bill Moore - Bottom groove - Jzld with Johnny "Hammond" Smith Joe Benjamin (b0, Ben Riley (d) Ray Barretto (cga) Jesse Jones Jr (as, fl) - Soul serenade - Contemporary with Melton Mustapha (tp), Lonnie Smith (org, p), Curtis Lundy (b), Danny Burger (d) Don Patterson - Oh happy day - PR with Virgil Jones (tp) Houston Person (ts) George Coleman (ts 3 tx), Frankie Jones (d) Don Patterson - The exciting organ of - PR with Booker Ervin, Billy James (d) Don Patterson - Hip cake walk - PR same + Leonard Houston (as 1 tk) Sonny Stitt - At DJ Lounge - Argo with Johnny Board (ts), Eddie Buster (org) Joe Shelton (d) Gene Ammons - Live in Chicago - PR with Eddie Buster & Gerald Donovan (d) Gene Ammons - Preachin' - PR with Sleepy Anderson (org), Sylvester Hickman (b) Dorral Anderson (d) More later, I'm going out for a fag. MG

You can't have it both ways in one sentence, Joe. You can't say, "we have a crappy lifestyle" and regret its passing. MG That's not what I meant. The regret would be for the fact that we've allowed it to be set up in such a way that it is so vunerable to price fluctuations. Ah. Thanks. MG

This worries me, as much as seeing "Birth of a nation" several decades ago. I can see there's a historical and academic justification. But I have a sneaking suspicion that it's really better to let this stuff get buried until some historians come round and find it a thousand years later. MG

That must be why dentists have the highest suicide rate of all occupations. It's the guilt. I hope this information is of some comfort to you ALL. MG

Weren't they on their own (?) label BIZARRE that was distributed through Verve? Looks to me like Bizarre was a production company. In the US the stuff was on Verve, according to my old Schwann catalogues. And the UK issues, that I remember from holding them (gingerly) in my hands, were on Verve. MG

Not South African, but there is a connection, which Thom noticed and you've picked up on the same aspect. Not JOS. Not Ike Quebec. Don't be confused. Yep, it's "Creole love call" - a real funky blues. Full points there - though I wasn't expecting anyone to be fooled. This is, I thought, something that not many people would have heard and is different from the usual run, as you say. Actually, I did edit it, because the players were announced at the end But I know what you mean. The tenor player runs out of ideas and in a studio there probably wouldn't have been a drum solo. But as a live cut, I think it shows the risks very well - and those guys were taking real risks. Thanks Flurin. MG

You can't have it both ways in one sentence, Joe. You can't say, "we have a crappy lifestyle" and regret its passing. MG

They were on Verve-Forecast (as was John Lee Hooker), which was intended as a Folk music label (and probably wasn't managed by Creed Taylor), though the "folk" credentials of a good a good few of those artists don't seem nearly as convincing now as they probably did then. The Mothers were on Verve. I've remembered that my cousin had a 45 of a recording of "Imagination" on UK Verve, by some group whose name I don't think I even tried to remember, which was in imitation of the Marcels (does anyone remember the Marcels' "Blue moon"?) and was 1961 or 1962. Now THAT was in the Creed Taylor days. I can't understand why it came out on Verve when MGM had a perfectly serviceable, though bland, R&B label, Cub, at the time; but there we are. MG

My question is why exactly does it even matter? I listen to music because I enjoy it, I could care less about it's "street cred". I can't see someone of Al's age meaning a thing to anyone young enough to have "street cred" themselves. I don't tend to break down music along racial lines though, it's not something that's important to me. But that's of course my opinion. The question pertains to the social context of the music. Some of us find that interesting. Right with you there, John! MG

I got the same e-mail. Crossing my fingers... They sent the same one again... I'm getting them too. They're computer-generated, obviously. I think it's only marginally better than an "order is cancelled" email, but I guess hope springs eternal! Greg Mo "Dear John..." MG

I agree. Although we're all pissing all over him, Chauncey does have a point (though overdone) and I too will listen a bit more intently (until I get bored with it ) MG

Hmm. I've never seen Lou live, though I've seen Lonnie... I need to think about that. When is it? MG

The duet Jimmy and Lou did without rhythm on the "Incredible Jimmy Smith" was sublime. I was listening to the version he played in Buffalo on "Fried buzzard" earlier and it doesn't approach the JOS duet for shimmering heat haze and longing! MG

Not to mention Tim Hardin. All that was after Granz but was it during the Creed Taylor period? With a corporation like MGM, Creed was not the only guy with input. A bunch of cooks muddling the broth. I can't be certain because I don't have too many Verves from that precise period, but I think Creed Taylor was out of there by then. Curtis Amy's "Mustang" was produced by Joel Dorn & Jack Shaw in January 1967, not Creed Taylor. The last Creed Taylor-produced Verve I know of was the JOS/Wes "Further adventures" recorded Sep 1966. Wes' "A day in the life" was recorded in June 1967 on A&M. The Mothers first Verve LP came out in May 1967 (dunno when it was recorded). MG