The Magnificent Goldberg

Billy The Kid Emerson William Bonney Clyde Barrow

Not later, I think, but about contemporary, is Faure. His chamber music seemed to me to have a similar feel to Debussy's. Duparc. Particularly his songs. Daniel-Lesur. Hindemith's "Herodiade" is very like Debussy's work of a similar nature. If you can pick up Vera Zorina's Herodiade/Debussy's "Chansons de Bilitis" (Columbia (US)) you'd get two very similar-feeling pieces (poems recited over and around music - er, Rap?). Agree about Delius. MG

I know you're right, Jim. But it's funny that there were plenty of musicians who DIDN'T get caught up in it. Gator Tail is the great example. But so were most of the musicians of that generation who went off to Paris and recorded for Black & Blue, because they couldn't get sessions with the US companies: Jacquet, Chamblee, Cobb, W B Davis, Buckner and so on. They could have done what Lou, Jug, Sonny, Doggett, George Freeman, Nat Jones (JB's arranger in the mid-sixties and a musician from the thirties who played in that Jack Travis' band) and others of that generation were doing, had they wanted to. There's no doubt that they were as "popular oriented" as Lou & co. No doubt that they could have brought it off musically. So why the split? I haven't really thought about this before, but it's really quite an interesting thing. MG

In a sense, I'm not interested in the music at all. Does it matter to me whether I'm reading these posts as a result of electrical impulses coming down wires or through a satellite dish? No. Music's a method, that's all. So when I read people talking about, for example, Bop players inventing new bits to tack onto chords, or chord inversions, I think, "OK, I can see that there's a historical process that's not unimportant to discover going on, but what was it that made these players think these ideas were essential to getting their message over?" And I don't get an answer to that, particularly for Bebop - though I can feel the message. So I'm really content that the process of converting a person's life and experience and skill into music messages should remain a mystery. To me, at any rate. MG

Yeah, OK, young sir. We don't mind you slumming. MG

I did't know that, either. Thanks. MG

I see you REALLY like GG's "Alive" MG

Haven't got this, but I've noted what you've been saying in the past weeks. Actually, I don't think I've ever seen this LP anywhere. Never heard of this one! Lamont Johnson was on Mobley's "Reach out". Didn't know he'd recorded as a leader. More please, Mama. One that's on my list to get. MG

You are probably right there. I normally drink very little alcohol - except when I go on holiday (not that I'm a piss-artist then; I spend too much on records to afford much booze). So, in addition to having less orange juice than I'm used to, I'm probably reducing the effectiveness of the measly little glasses of OJ you get in hotels. And that's why I get colds on holiday. MG

Looks like we're being told to brace ourselves. http://uk.news.yahoo.com/skynews/20080308/...er-45dbed5.html MG

I rather like Hampton's singing. But then, I like Milt Jackson's singing. Both sing with great charm, in my view. If you don't like real singers, you may like Hamp MG

Oh, nothing dear. MG

AAAAARRRRGGGGGGHHHHHH!!!!!!!!!!! MG

I drink a third of a litre of orange juice every day. I don't have colds, except when I go on holiday and don't get my OJ - or as much as usual. Then I get an effin' stinkah! MG

Very hard. Too hard. Got my list down to 20, then gave up. Recording date order Lou Donaldson - Alligator bogaloo - BN Apr 1967 Odell Brown & the Organizers - Mellow yellow - Cadet Apr 1967 Willis Jackson - Star bag - Prestige Mar 1968 Charles Kynard - Professor Soul - Prestige Aug 1968 Illinois Jacquet - The soul explosion - Prestige Mar 1969 Les McCann & Eddie Harris - Swiss movement - Atlantic Jun 1969 Lonnie Smith - Live at Club Mozambique - BN May 1970 Grant Green - Alive - BN Aug 1970 David Newman - Captain buckles - Cotillion Nov 1970 Stanley Turrentine - Sugar - CTI Nov 1970 Rusty Bryant - Fire eater - Prestige Feb 1971 Blue Mitchell - Blue Mitchell (aka Soul village) - Mainstream Mar 1971 Sonny Stitt - Just the way it was: live at the Left Bank - Label M Mar 1971 Leon Spencer - Louisiana Slim - Prestige July 1971 David Newman & Roy Ayers - Lonely Avenue - Atlantic Nov 1971 Rusty Bryant - Friday night funk for Saturday night brothers - Prestige July 1972 Charles Earland - Live at the Lighthouse - Prestige Oct 1972 Gene Ammons - Big bad Jug - Prestige Oct & Nov 1972 Boogaloo Joe Jones - Snake rhythm rock - Prestige Nov 1972 Funk Inc - Hangin' out - Prestige Dec 1972 Of course, if I did this again next month, there'd be a few differences, I've no doubt. If there was one only I could keep on a desert island, I think it would be the Sonny Stitt. If the time went into 1973, Earland's "Leaving this planet" would be in there. MG

I think I'll stick to the vinyl, even though I've only got them in mono. Good sessions. I have a fairly big preference for "Joe's blues" over "Wings & things". I could use all of the other Hodges/Davis sessions for Verve. I never bought any of them. Are they being issued too? MG

Yes, I do agree. No one thinks it odd or inappropriate or "trying too hard" that Hawk was keeping up... The other point is that Soul Jazz, as kind of the Jazz stream of black popular music, was pretty well compelled by its own internal cultural aesthetic thrust to keep up with what was going on in R&B. Had it not, it seems to me that it would not have been true to what musicians from Jacquet/Ammons/Wilkerson/Gator/WBDavis/Donaldson/Turrentine/Crawford/Newman etc had been trying to do. MG

But if Brownie were lurking around, he might put in It's "vive la difference"! MG

I dragged my wife along to Bristol (actually, since I can't drive...) to see McGriff & Hank Crawford. First time she'd seen a B3. And she was totally WOWWWWED by the legs. She doesn't like music much. MG

Oh, and MG

Don't be so sure. MG

Or a new set of beautifully turned B3 legs. MG

Well, as a newbie, I've gotta say that I think it's great, too. Thanks Jim. And many more of them! MG

I don't agree, but I CAN understand someone feeling Lou was uninspired. Lou, to me, liked elegant shapes. He wasn't, in himself, a dirty player (greasy, yes, but not dirty) and I can understand that, because he knew those shapes very well, it can seem that he was just churning them out. To me, the feeling transmitted - and you know, I don't give a damn about the music - is the key to it all. And, to me, Lou FEELS so right. So, OK. MG

Odell Brown & the Organisers - Ducky - Cadet orig Odell Brown plays Otis Redding - Cadet orig Odell Brown - Free delivery - Cadet orig MG