The Magnificent Goldberg

Actually his first LP after prison, The boss is back, had the track "The Jungle Boss" which was slightly funky, but his next Bother Jug had the REALLY funky track "Jungle Strut" - maybe you're thinking of that one? Any way the sleeve notes for these LP's and his third one The black Cat all talk about his experiences in jail and are very interesting as a result. On the The boss is back he talks about the "new thing" in jazz that had started up during his time inside: "There have been a lot of changes in this world since I went in. It's like day and night. These changes have struck music too. dudes are trying new directions and i dig it. But the avant garde wouldn't fit my bag. I might try a free lick here and there, but I'll stick mostly to the Gene Amons I know" For me what's interesing is what he doesn't talk about when got out in 1969 - ie the by then huge influence of rock, R&B and funk on jazz. He bascially sat out the whole rock and funk revolution in a prison cell and comes out and notices Ornette Coleman and Coltrane! Maybe this is because the funked up, JB-influenced jazz of the late 60s and early 70s wasn't so alien for the great soul jazz and hard bop musicians like Ammons as it might seem from looking back from our stand point. Ammons always played the popular hits and rhythms of the day and it was like a natural transition from Swing to Be Bop to Hard bop and then to Funk. All these movements were just the dance beat of their time. When I listen to Ammons on "Jungle Strut" with Bernard Purdie on drums, or on his great track "Jug Eyes" with Idris Muhammad, the match seems perfect and totally natural. So I don't think it was that hard for him to get back into the contemporary groove. Also having Bob Porter, the "god father of acid jazz" as his new producer must have helped tons. You're right K. (And those two albums were recorded on successive days, so the different personnel didn't really change the way Jug was feeling.) But there seems to have been no influence on his post-1969 style of Rock; none that I can identify. As he had been before he went in, he was playing his own take on contemporary black music. Don't forget, Jug would have been a hero to the vast majority of African-American prisoners. In the seven years he spent inside on that stretch, he would have met huge numbers of young men who were "passing through"; and picking up what was going on all the time. They would not have been talking about the Grateful Dead or the Mothers: JB; Curtis Mayfield; Marvin Gaye yes. I think I recall an interview in a magazine in which Jug said the Governor gave him practising time every day. I think Jug had plenty of opportunity to keep up both his skills and his understanding of what was going on. MG

Kenneth More Ken Mars Mars

Just ended Jimmie Lunceford - Life is fine - Quardomania discs 1-4 MG

I don't care if they want to issue more "contemporary" sounding stuff, but when you're sitting on a goldmine of classic jazz from that era, you've got to pick the gems and put them out. Furthermore, I'd strongly argue that at this point in time, the people buying CDs are the ones who would be interested in those 50s-60s concerts. I really hope that his comment is directed at what type of "special projects" they'll record at upcoming festivals, not what they plan to issue from the vaults. If Olaine had anything to do with Verve's reissue programme 1999-2004, then he's definitely well seized of the need to cover the 50s-60s. MG

That, and keeping EVERYTHING they own, and EVERYTHING they've EVER released "in print" FOREVER!!! From the article... Infinite choices, eh? So when are they gonna put out the box of complete Freddie McCoy Prestige recordings? Or the two Paul Bryant LPs issued on Fantasy? Or the two Johnny Lytle Milestones? Or The three David Newman disco LPs on Prestige? Infinite choices! Pah!!!!! How do you make the letters big? OK - imagine these letters are big, if you wouldn't mind. PAH!!!! PHOOEY!!!! TOSH!!!! PISH!!!! MG I take it, then, that you're a "glass is half empty" kind of guy? MG

I see where you got your name 3 people entry from! Wonderful piece! MG

Houston Person Eva Peron Eva Braun

Jack Train Boxcar Shorty Peter Blue

That, and keeping EVERYTHING they own, and EVERYTHING they've EVER released "in print" FOREVER!!! From the article... Infinite choices, eh? So when are they gonna put out the box of complete Freddie McCoy Prestige recordings? Or the two Paul Bryant LPs issued on Fantasy? Or the two Johnny Lytle Milestones? Or The three David Newman disco LPs on Prestige? Infinite choices! Pah!!!!! How do you make the letters big? OK - imagine these letters are big, if you wouldn't mind. PAH!!!! PHOOEY!!!! TOSH!!!! PISH!!!! MG

Oscar Wilde would say that was carelessness. You're right Aloc - who knows what the time brings? MG

I'm not sure that it's fair to make such an assumption simply from reading these contracts. There could be many reasons that the pay varies so much. True - but who's got the leverage here? The club owner mostly, because in those days, there were plenty of first class jazzmen competing for gigs. So the owner's trying to get people who can fill his club as cheaply as possible. And the musicians are doing the best they can. These contracts all look rather similar. MG

Actually, Mobley's was just $175.... THAT is a big price difference between the other artists. Yes - a slip of the mind. Very big difference. MG

Larry's right. This is the sort of thing that happens to all of us, in real life, without any hassle or intention to put down, but in ordinary conversation. How many times have you thought of the exactly perfect riposte - half an hour too late? Or, even worse, ten seconds too late. And ten seconds, when you're dealing with someone like Inus, or a politician, is WAY too late. Like Larry, I've sometimes come up with the perfect riposte on cue. And it felt effin' great to be able to put down a Secretary of State. But it doesn't happen often to a non-professional. And this is something that no amount of guidance can help you with. As you said, Jim, in the context of the contracts to play at the Blue Note, you do it by doing it. MG

Bobby Hutcherson live at Montreux - BN blue label UA Teddy Edwards & Les McCann - It's about time - UK Fontana mono Clifford Scott & Les McCann - Out front - PJ stereo bue label MG

Actually, the Armstrong contract is a doozie! He had the leverage to get MGM to cough up $485 a week for his own staff, IN ADDITION to the fees for himself and his band! Compared to him, the others were hardly in the same business, were they? MG

Cap'n Jack McDuff Cap'n John Handy John Handy

Tim Brooke-Taylor Graeme Garden Bill Oddie

George Washington Jr?????? Seriously, all respect to Concord this time. And a George Washington Jr live gig from '94 will be one I think I'd definitely buy (though I'd like to see the personnel first). MG

That is nearly $100 on UK Amazon!!!!!! (£47.50) Vampisoul put out a range of very interesting stuff: Cal Tjader to Andre Williams http://www.vampisoul.com/home.htm But Jr and his Soulettes has been deleted. MG

It's you? I always thought it was me who was the luckiest man alive! Oh well - congratulations, young sir! MG

Don Patterson Billy James Booker Ervin

The wages differences are interesting, aren't they? Mobley 275 for a week Monk 750 for a week Stitt 900 for 3 nights Getz 575 for 1 night Cannonball 1100 for a week Recent discussion on AAJ about musicians who were great sidemen but so-so leaders tended to overlook what this makes clear - a leader is supposed to generate a good income to feed the sidemen and their families. Hank wasn't a leader. MG

Looks like Lou Church - evidently the club owner. MG

The contract's dated 5 March, but the gig starts on 11 March. MG

Chewy, this was for an engagement at the Blue Note - a club at 15th Bridge, Philly. MG