The Magnificent Goldberg

Another big "thumbs up" for this CD as well. Really showcases Bobby and what he was all about. Also, the recording he did with Frank Wess and Tootsie Bean is a killer. Which album was that SS? MG It's called "Going Wess"...you can get it on Amazon. Thanks very much SS. Now on order; $3 cheaper at CDUniverse. MG

Another big "thumbs up" for this CD as well. Really showcases Bobby and what he was all about. Also, the recording he did with Frank Wess and Tootsie Bean is a killer. Which album was that SS? MG

Thanks Claude MG

Thought I'd put up a list of what I THINK are all Rhoda's albums as a leader. The discography on her own site includes a lot of reissues in different European countries and is pretty confusing. Must get "Very Saxy". Only heard of it reading this thread. MG

I have "Summertime" and "Take five". They're both excellent compilations. The former is about half of a three volume set on Barclay called "Ballades" - imagine a triple album of ballads - who else could carry it off? And no guitarist! I need more Rhoda. MG

I've always felt that jazz fans in particular give too much attention to "the greats" and too little to the working men and women who play all over the place, perhaps making a couple of records. To blues, R&B and soul fans, this is a strange attitude. "The greats" have always been a second or third priority for me. MG

The small public domain labels are economically insignificant compared to the big players. I'm sure the copyright experts of the Commission and most governments haven't even heard of these small labels. These people generally have to deal with many different issues, have no basic technical knowledge (lawyers ) and are out of touch with the reality of the music market. They mostly rely on "expert opinions" from lobby organisations to form their opinion. I had once participated in a EU conference on copyright levies and DRM, where most people were of the opinion that DRM technologies on music now made it possible to control all copies and made levies on private copying superfluous. They didn't know that there is no such thing as DRM for audio CDs. The Apple representative stated that their iTunes DRM system was absolutely safe, but omitted to say that iTunes allows to burn CDs, thus getting rid of all DRM restrictions. I was disgusted by the lack of knowledge of the government experts and the way lobbyists took advantage of that. I agree with most of what you're saying, Claude, (though I don't know what DRM means) having done some of that stuff myself. However, when you talk of economic significance, it's too easy to equate that to size. Small labels can be economically significant in their local areas. The EC has a Regional Directorate which could listen to the independents, did they but know it. MG

http://europa.eu/rapid/pressReleasesAction...&guiLanguage=fr It seems there is some intense lobbying going on, in the perspective of some very successful pop recordings (Beatles, Rolling Stones, Elvis, etc) entering the public domain in Europe. Read "European music industry" as referring solely to the major companies. An extension will harm a lot of small European firms like Lonehill, Classics, etc. But enable BMG, to take one example, to continue to flog Sam Cooke's "Night beat" - his only classic album - at well over mid price. MG

Just back from a little trip into Cardiff to buy muesli and paid a visit to the second hand store. Got these on LP Chris Foreman (from the Deep Blue Organ Trio) is on this one. Also The wonderful sounds of Ossie Scott (no image on web) Ossie, who was unknown to me until this morning, has apparently made at least 4 other albums - all, it seems, in a middle of the road, slightly Reggae/Rock Steady vein - straight sax with a bit of improvisation backed, on this LP, by a grade A Reggae band including Gladstone Anderson and Winston Wright on keyboards, Willie Lindo, Little D, Frazer and Bo Pee on guitars, Carlton Davis on drums, Scully percussion and Mikey Dread on bass. It's kind of strange - a bit like Sil Austin's late '50s and '60s albums, bt with a slight (very slight) hint of Reggae. This is the only one of the newies I've played so far; couldn't wait to hear it. Then I went into the CD section and got A 2 CD set containing 3 LPs and some bonus trax And I had to visit Spillers, to see if these two I'd ordered last week had come in And yes, they had! No money left! Came home. MG

Oh, I didn't realise that was what you were implying. Dunno; don't think either was the inspiration particularly (though I'm only remembering Rupert Davies as Maigret in the TV series - never read the books). My view of the inspiration behind Clousseau was always Jacques Tati. MG

I THOUGHT it was '69. I saw the programme when it aired on the BBC and we were v disappointed that GG didn't have more of an airing. MG

I think it must be deleted. When I did a Google image search, I only got two responses, one of which wsa the Von Freeman discog. If it were available, I think I'd have got a few more pix. Damn fine album. Second hand may be an option (but not mine ) MG

Nope - Hercule Poirot (albeit a Belgian - he spoke French anyway) MG

Wait, Tenor Conclave features Mobley, Cohn, Sims and Trane, right? Is there another side with that title? Oh. The one I have is Teddy Edwards, Von Freeman and Buck Hill, with the Rein de Graaf trio. Timeless CD SJP306. 9 April 1992. Let's see if I can find an image... MG

Yes yes. MG

I love "Very saxy" too. A fabulous album; greatly treasured. But Teddy Edwards' playing on "Tenor conclave" is wonderful (as are Von Freeman and Buck Hill) and I wouldn't want to be without that album either. MG

That's definitely right. BTW, it's Plas Johnson playing on both. More people must have heard him soloing than any other jazz musician ever! MG

No sweat - it finds "Braith" easily enough. And "Cochemea". Who needs more? MG

I enjoyed the film and have it on VHS (I hope - haven't seen since we moved). I really liked the way Diz was portrayed in the film. Hope that was pretty well the way he was. Yes - they put old Bird solos over new backing tracks. I feel that was a difficult decision and there are arguments all ways. MG

I sold plenty of albums in the '60s and early '70s when I was on and off the dole. But I don't think I have sold anything, apart from some LPs I have bought on CD, since then. Well, I just checked and it shows how faulty one's memory can be. I've sold 37 albums since 1975 because I didn't like them. But nothing since 1986. They've mostly gone within a few weeks of buying them. I have a list of 91 albums I used to have and either definitely want to or might want to buy again. Not all were sold, some (mostly tapes) were chucked when they became unplayable or bust. MG

His daughter-in-law's bio says drugs, without specifying which. I just looked at my single of "Canteloupe woman" and it's a cut out. I don't think I've ever seen another jazz single that's a cut-out. I take that to imply that it didn't sell nearly as many as Verve expected it to. That leads to the conclusion that Verve had the willingness to try to push the single. So why didn't it make it? Can't tell, of course, but it could have been down to GG. MG

One thing about jazz musicians getting hits is, they have to be out there, pushing, ready and able to make the appearances that are required. If he wasn't able to do that, then the records would have bombed. I don't KNOW that's what happened. It may simply be that "Canteloupe woman"/"Daddy grapes" just wasn't a good enough try. MG

It's a pity this is Alfonso's sole outing on alto sax. I DO like his playing a lot. I should have recognised Hoist, as I have those Mango Santamania albums, as well. He also plays a mean baritone sax, as well as alto & cello. Allen IS French, I understand, so you'd expect him to like French grooves. MG

Junior Parker and Rosco Gordon would be of interest. Must find out if you can get these physically. MG

I think part of the answer may have been money. Blue Note lost Jimmy Smith, Lou Donaldson and Donald Byrd, all of whom had had hit albums, because their contracts were for cash, according to Francis Wolff. Musicians who weren't having hits generally didn't bother with royalties, but those who did suddenly realised that they weren't getting paid. GG was a musician whose records were selling well, though they weren't hits. He was a good man to have on a session; recorded for Blue Note more often in the period 1961-65 than any other musician, and GG knew he was an attraction. He wanted, and thought he deserved, chart success. So I have a feeling he moved away from Blue Note to Verve because he got a better deal - assuming hit albums. But the hits didn't come - no doubt because of his problems. MG