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The Magnificent Goldberg

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Everything posted by The Magnificent Goldberg

  1. As of course you know, Seka is the lead singer with The Royal Band de Thies MG
  2. More Ozzie Cadena productions Kenny Burrell & Coleman Hawkins - Bluesy Burrell - MV (Xtra UK) Leon Spencer - Bad walkin' woman - Prestige orig Leon Spencer - Where I'm comin' from - Prestige orig MG
  3. Tracey Chapman Chapman Pincher Punch
  4. I do agree with you a thousand per cent, Patricia. The removals guys packed my albums, when we moved nearly three years ago. It took two or three weeks to get them into some semblance of order. And then I had to redo the job to get it really right. That's OK for a guy in my position - bugger-all to do all day but rearrange his record collection (though I gave myself an RSI in my left shoulder that is still not quite right). But if you've to earn a crust or two, then I can see the process dragging on forever - like painting the Forth Bridge, because you buy more records than you have time to sort out. MG
  5. No passenger left behind I saw a video many years ago in which the porters were using big sticks to push people into the trains. So there's progress! MG
  6. So you took the middle road... Idi Amin Robert Mugabe Sese Seko Mobuto
  7. Wetin De Watch Goat, Goat Dey Watcham What a wonderful title! Is Strut Records a British firm? MG
  8. Grammy award winner - does that make a difference? MG Not really but i still enjoy it the same, i think this is the kind of music i enjoy most in a pot-pourri situation. differnt bands with different sounds. Like i wrote earlier, i have very little music from this era and from this sphere of music, any recommendations about compilations that would cover similar grounds but still being complementary to this fine set. There's pages of recommendations in the thread with that title (This post dedicated to Chuck Nessa) MG
  9. Michael Heseltine (even more dandruff) No, Heseltine didn't have dandruff. Dr Lonnie Smith Dr Jakyll Jackie McLean
  10. So I just went back to the original post. Now we all, even or especially Jim, recognise that this is a statistical probability only, and when you're standing there in front of the door it's different, how do we feel about the monkeys and the M&Ms? MG
  11. There'd be no fun in this at all if the outcome were certain. Just like life. No, wait, that outcome IS certain MG
  12. Maynard Parker - Midnight rider - Prestige orig (RIP Ozzie) MG
  13. David "Fathead" Newman The Fatback Band Michael Foot (including dandruff)
  14. Paul Bryant 1960 Groove Holmes 1961 Charles Kynard 1963 Billy Larkin 1964 MG
  15. Wow! Sold a painting? More details please Noj, on "Lagos jump", if you don't mind... MG
  16. Oh, I think in America I've seen the expression "going south". I think it means the same thing. MG
  17. Ah, I thought it was later. Thanks. Something else, then. MG
  18. Leo Johnson Leo Parker Alfred Lion
  19. Good! I got an e-mail from Braith's address. He must have thought I was rich MG
  20. That's 1.1% in three months. I'm sure you're right there. I've been expecting this for a year or two. In the long term, of course, bricks & mortar is a fairly sound investment. Buying at the wrong time, and then having to sell at the wrong time can make that go terribly wrong, of course. I don't think he paid too much for the land, though I don't have any evidence of that - nor the other way. Timing is awkward, though, for them. The project is about 6 months behind. They'd budgeted for paying about $1,800 a month rent for nine months. So at the moment it's going to cost them nearly eleven grand more than they thought - without further slippage. And it's a long commute for both of them - to different towns, so no saving on petrol. And their older son would have another long commute, in yet another direction, to school. The younger one would go to school locally until he's eleven. The original idea was to buy and build the place and sell at a profit. That's gone for a burton now, as I said it would. But the commuting position is so difficult - and grandmothers no longer available to pick the kids up from school - that I can't really see them being able to sustain it in the long term. Unless my daughter, who's an actuarial controller and earns a bit more than he does, can swing working from home four days a week. I can see chickens coming to roost on our and their other grandmother's doorstep in terms of looking after the kids. MG
  21. My first parcel from Kalahari arrived with no problem - except it took so lllllloooooonnnnnngggggg. Frankly, no matter how bad things are in SA, I would expect Ghana to be a lot worse, and I've had two successful deliveries from there, so far (and quicker). MG
  22. This occurred to me, thinking about Ozzie Cadena and reading the 2006 interview with him that Larry Kart posted. So, we’re in the late fifties. Jimmy Smith had proved that there was a big market for the jazz organ. And yet the jazz record companies got onto this rather slowly. Blue Note recorded no other organists, apart from Ed Swanston on a 45 session with Ike Quebec, until the sixties. King recorded Shirley Scott, with Jaws, in 1956 and 1957, then Roulette/Roost and finally hit Prestige in 1958. She also had a date that year with Joe Newman on Coral. Prestige recorded Austin Mitchell and Wild Bill Davis with Arnett Cobb in early 1959; and Jack McDuff with Gator Tail and Bill Jennings later that year. Johnny “Hammond” Smith first recorded for Prestige that year, also. Riverside recorded Mel Rhyne with Wes in 1959. Atlantic, Pacific Jazz, Contemporary, Argo/Cadet, Verve – zilch. When you look at it like that, it’s a pretty paltry showing for something new and commercially very attractive. And there was Savoy, with a producer who (admittedly later) proved he knew all there was to know about making great organ records, in the centre of the action, with Larry Young, Freddie Roach, Lou Bennett, Rhoda Scott, Gloria Coleman, Don Patterson and others I can’t think of just at the moment, playing on their doorstep. Many have cast aspersions on his musical taste but, to my knowledge, no one ever said that Herman Lubinsky was uninterested in making commercial recordings; indeed, he’s on record somewhere (I think the Ruppli discography) as having stated that his motive for forming Savoy in 1939 was to make money out of black folks. So, why didn’t it happen? My own theory is that Lubinsky always relied on having A&R men who knew the music very much better than he. And that Kenny Clarke, who was also employed by Savoy as an A&R man of some sort, was pretty keenly focused on bop, not the kind of organ music that was around in the locality. So it was missed out and, come the early sixties, Lubinsky closed down the jazz and R&B sides of his business and just kept going with Fred Mendelson and Gospel music. But the lack of a record company in the immediate vicinity (Market Street, where Savoy was located, crosses Halsey Street, where the organ rooms were) was, I feel, to the detriment of musicians like Rhoda Scott, Gloria Coleman and Lou Bennett. Does anyone who knew the main people involved have any other ideas about this? MG
  23. Struth!!!!!! Where's the smiley for "heavily aggrieved to the point of actual anguish"? I guess I'll include it in the next order. MG
  24. Dale & Grace Alan-a-Dale Friar Tuck
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