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Everything posted by The Magnificent Goldberg
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I didn't think it was amateur at all; I thought it was one of the most professional, focused, sites I've ever bought from. In the first place, it was very easy to use; I found and ordered five albums in only about three minutes. I ordered eleven CDs in the Collectables sale last week and the rigmarole I had to go through to get each item into my bleeding basket I just couldn't believe. The process took nearly an hour! Second, I could see everything very clearly. Koester probably has a good idea of his customers' age group and has had the thing designed so it can be read easily by people with poor eyesight. Third, there weren't three billion adverts clamouring for my attention. Fourth, moving from screen to screen was quick. Fifth, the details they wanted were a bit less than other sites and it was clear what they wanted. In particular, there was a drop down menu for state with an option "outside US", which is extremely helpful for us "furriners". To me, all that suggests that someone has done some deep thinking about what customers want. And that is the height of professionalism, in my view. MG
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I thought Jazz Record Mart had a pretty good web presence. Judge for yourself. Do a search for, say, 'Cannonball Adderley' and see if this is the place where you want to do your online shopping. jrm I had a look, too. Didn't confine myself to Cannon; had a shufti at Ernie Andrews and Etta Jones. Found 5 Muse deletions I hadn't got (2 on K7, 3 on CD) at better than decent prices. Thanks mucho Montg. MG
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What music did you buy today?
The Magnificent Goldberg replied to tonym's topic in Miscellaneous Music
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I think the only Payne I've got (apart from in my back) is with Jimmy Smith, on "Six views of the blues", which has a bit of a strange sound to it. But Cecil's playing is very nice on that, though I prefer Leo Parker, Leroy "Hog" Cooper & Ronnie Cuber. Those Delmarks that have been posted look interesting. Can I see Marcus Belgrave's name on "Scotch & milk"? MG
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Oh well, if he's English, he's from the wrong side of Offa's Dyke. MG
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How about some Boogaloo Joe Jones? Snake rhythm rock? For a Lou Donaldson cut for this friend, I think I'd go for Bag of jewels; the groove on that is CRAZY! Les McCann/Eddie Harris - Compared to what Gene Ammons - Big bad Jug David Newman - Captain buckles Jazz Crusaders - Ooga-boogaloo (from Lighthouse '68) For Jimmy Smith, I think The sermon is wrong for a funk fan - Root down will get him going better, or Papa's got a brand new bag or even Honky Tonk For Earland, Black talk is fine, but Mr Magic would be even better Finally, well not really, but Groove Holmes - Gemini MG
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Generally speaking, I prefer violinists who make the violin sound like a riti (West African instrument). My favourite riti player is Djulde Kamara. MG
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Good point. Certainly there were updated production techniques; Malaco had bought the Muscle Shoals studio and inherited a lot of that aesthetic. But I remember either Tommy Couch or Wolf Stevenson being interviewed and talking about the market they were going for, and it was the older people, who wanted what they'd always had. MG
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That's it exactly. My question is this - since it is now everybody's music, what's the point of imitation? If you use a bit of last week's spaghetti sauce as a starter for this week's, hey cool. But if you just use the old sauce as is, what's the point? It's kind of sick, really. Make a new, fresh sauce with the old ingredients. Just because there's a market for it doesn't mean that it's healthy. Popular music can be a wonderful stimulus that wakes us up to the now and propels us positively into the future, or it can be a crippling sickness that keeps us tied down to the past. No matter how great the past was, its results are already known. So what's the point of playing a game where you already know the outcome? As a hobby, sure. Or as a study. Gotta study. But anything beyond that and you end up being a willing participant in the whole big ugly machine that has no intention of letting anybody move ahead. Because moving ahead requires having ownership of yourself. And there's a huge system out there that has every intention of not letting you own yourself past the point of allowing you to create the illusion of ownership. This is not a question of "individual credibility" nearly as much as it is of waking up to the fact that there's probably better things to do with your time than trying to define your present in terms of somebody else's, anybody else's, past. And yeah, I've been guilty of that too. And yeah, I'm trying to stop. It ain't easy. Wish me luck. I agree with you, really, Jim, but I just want to qualify what you said a bit, because it looks a bit too absolute. There isn't one market out there, there are many. Some communities, and their markets, move at a different pace, and maybe in a slightly different direction, from others. Reading your post, I was continually referring back to Malaco's business plan in the '70s. The owners perceived that there was a group out there - specifically middle-aged black southerners - for whom little had changed and who therefore wanted the same kind of music they always wanted. You wouldn't expect the majors to cater for the market; but even the black music independents weren't catering for it. So Malaco signed Bobby Bland, Johnnie Taylor, Little Milton, Denise LaSalle, Dorothy Moore etc on the secular side, and the Jackson Southernaires, Willie Banks & the Messengers and a lot of other quartets on the Gospel side and provided what was, effectively, out of fashion black music for this market, which wasn't interested in George Clinton, Earth Wind & Fire, Sade, George Benson, Whitney Houston etc. What Malaco were doing seemed to me similar to what Syd Nathan thought he was doing with King records; "making music for the little people". This was backward looking stuff, but I don't see anything wrong with it. I readily agree that those artists weren't imitating anyone; they were doing their own things, albeit past their sell by date for the majority of the black music market, which DOESN'T look back. I just thought you were being a bit too all-encompassing, there. MG
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New Mosaic Singles Series!
The Magnificent Goldberg replied to Ron S's topic in Mosaic and other box sets...
I can't trace it now, but I've seen something on a BB about it, or maybe had an e-mail from Mosaic that I didn't keep (unlikely). Apparently, it's only going to include records Les made as a sole leader, so the ones he made with Groove Holmes, Jazz Crusaders, Teddy Edwards & Clifford Scott won't be included. MG Edit - It's not in the Mosaic upcoming projects list yet. Man, I would love to get all those Pacific Jazz trio sessions on one collection. Me too. Anxiously awaited, is the phrase, I think. MG -
New Mosaic Singles Series!
The Magnificent Goldberg replied to Ron S's topic in Mosaic and other box sets...
I can't trace it now, but I've seen something on a BB about it, or maybe had an e-mail from Mosaic that I didn't keep (unlikely). Apparently, it's only going to include records Les made as a sole leader, so the ones he made with Groove Holmes, Jazz Crusaders, Teddy Edwards & Clifford Scott won't be included. MG Edit - It's not in the Mosaic upcoming projects list yet. -
I've been deaf to this stuff for ages--regardless of 'genre' qualifications, are they any good? If so, I may have to make a run to the shop... As per Spaceways, etc... a lot of Vandermark's stuff is pretty groove heavy. Not just swinging--a lot of his material likes to ride on the beat. William Parker, too, for that matter. I listened to them out in the garden earlier today - very loudly. Actually, I liked them better today than I ever have before. (I'm not really very keen on either Hendrix or Abercrombie.) For the first time in 11 years, I noticed that the one original, "Jimi meets Miles" (though what Miles has to do with it, I don't know), is yet another version of Lonnie's car chase number, which he's recorded four (three other) times under different titles. I might give them another go in a couple of months, to see if the effect was just the weather... MG
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Youssou N'dour says that white people can't dance to Mbalax because it's rhythmically too sophisticated for them; like 4/4 and 6/8 simultaneously with an accent on the 7th beat of each alternate bar! He's wrong, but you really need to feel like it! MG
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Just pulled out the two perfect albums for this. Lonnie Smith's "Foxy lady" and "Purple haze", both with John Abercrombie and Smitty Smith. I suppose his "Afro blue" would qualify as well, but perhaps not so well. MG
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On the album "ESPM the reunion: Live at Akhbar Hall" Idris Muhammad congratulated the dancers and said that he had structured his solo around them. I think that was one of the nicest things a musician has ever said to his audience. MG
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YESSSSS! (Well, there are a few others...) MG
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New Mosaic Singles Series!
The Magnificent Goldberg replied to Ron S's topic in Mosaic and other box sets...
Since the forthcoming Les McCann Mosaic apparently isn't going to include the albums Les made with Teddy Edwards and Clifford Scott, I'd quite like to see them come out in future releases of Mosaic singles. MG -
Glad you upped this Red. John Fourie, who was mentioned in a few posts on page 2, apparently did go to the US. If it's the same musician, he played "fuzz guitar" on Charles Earland's first "Intensity" session (16 Feb 1972). I don't have any other recordings with him on them, (AFAIK ). The Kaz albums are great. MG
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Matching Mole's Little Red Record
The Magnificent Goldberg replied to Guy Berger's topic in Miscellaneous Music
Yikes, what a creep. Guy Communism's respectable over here. My grandfather was a Bolshevik; deported back to Russia after the Revolution for refusing to give up starting trade unions in the sweatshops of the East End. That sort of thing was necessary and the Communists were the only ones trying to do anything about it. MG -
Interesting Jack McDuff overdubbing from 1968
The Magnificent Goldberg replied to Soul Stream's topic in Miscellaneous Music
Jimmy McGriff - "The last minute". Don't know for sure whether it was overdubbed, though. He might have been playing piano and organ at the same time. MG -
It sez 'ere - "Blue Note 24 bit by RVG" then there's some Japanese writing. TOCJ9248, came out in November 2000, along with "Oh Baby", "Am I blue", "Chicken shack", "The right touch", "Crazy baby", "Natural soul", "Grantstand", "New perspective" and "Lightfoot". Altogether a bunch of worthy Soul Jazz material, many of them classics; few (only one or two?) issued in US. As I've frequently said, I think Mr Cuscuna has a "down" on Soul Jazz. MG
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I don't think it sucks. True, the material is mostly dunggggg! True, the tracks are too short for real digging in solos. But an old swing musician once told me, "if you can't say something in four bars, you can't say anything in 17 choruses". And Grant, John (I'm sure it IS him, but don't positively KNOW) and Frank Mitchell do say something in their short solos. Particularly Frank who, on "Walkin' my cat named dog" (I think), produces a solo that any of the big honking saxmen would be proud of; that solo is worth the entrance fee. MG
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No - I haven't read every science fiction book ever written. Just a lot. MG
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Sonny was on Herbie's "Memphis underground" album. I don't recall his solos on that being particularly "far out"; time I threw this on the CD player, I think. Also time I put Fela's "Perambulator" on the turntable; Lester Bowie's on that. Trouble is, my copy is a Nigerian original and side 2 is pressed seriously off-centre, so I hardly ever play that side, which I think may have more Bowie on it. MG And side 1 is also seriously off-centre, too. I love Fela's own productions; they're full of faults. The original version of "Authority stealing" jumps but, charmingly, has an apology printed on the sleeve. And a free copy of Fela's anti-Government newspaper is enclosed. MG