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Chas
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Posts posted by Chas
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well chuck nessa today at dinner we went to five dollar happy hour pizzas, and i was all 'how much extra 2 add feta" and she was all: two dollars- and i was all: how much do u get, a lot? and she said honestly, no- not really that much. well i wanted feta cheese, and a shitton of it, on top of my sausage and mushroom thin crust fancy reastaurant style happy hour pizza. should of just plunked down 12 extra dollars and been all: fine gimme a pizza with six side orders of feta, biatch! or should i have done what i really did, and just fanasized about the feta when i put parmasean on it instead.
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It's hard to tell the homeless folks from the millionaires.
Only if they're unaccompanied by their women.....
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Here's what it looks like :
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AFAIK , Jimmy Heath only appeared on an organist's date twice : Charles Earland's Black Drops , and Don Patterson's These Are Soulful Days .
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You already have the music if you have :
The reissue cover looks like this :
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I've always had a deep affection for the three LPs made by Charles Williams for Mainstream, largely because of the unexpected personnel. These LPs were based on a co-op band called the Four Souls, who were Bubba Brooks (Tina's brother), basically a blues and Websterish swing stylist on tenor; Williams, a modern Soul Jazz alto player; Don Pullen on organ; and Bill Curtis (who left the band in 1972 to form the Fatback Band) on drums. This band really should not have worked, but it did.
Agreed . I remember hearing the record and thinking the organist had to be one of the veteran grease merchants . Quite a shock to find out it was Pullen - he had the style down cold !
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Wherefore art thou Peter Johnson?
Wherefore art thou using wherefore , when wherefore ≠ where , wherefore = why ?
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Looks like our friend Miss Georgia Russell has a thread to herself.
Lots of people have had 91 % of the posts in their own thread , but how many have done that in a fifteen page thread ?! He's truly in a league of his own !
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Elvin Jones & Richard Davis w/Earl Hines
I was surprised at the lineup on that session too , and then a little disappointed after hearing it .
Puts me in mind of another surprise Elvin Jones appearance , this time teamed with Art Davis : Father Tom Vaughn's first RCA record Jazz in Concert at the Village Gate .
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And if the requirement for posting here was that one had "something constructive and meaningful to add" then dare I say there'd be a hell of a lot fewer members here.
I think we should have an expectation that members will offer something "constructive and meaningful" so long as we recognize that that can come in the form of knowledge of the music , experience of the music or passion for the music . Each of us places a different value on the various types of contribution , and while for me jazz-flavored spam ranks below all other kinds of contribution , I find it less objectionable than much of the non-jazz postings here . I'd rather have a smaller membership posting exclusively about jazz than a larger membership posting mainly about jazz . It would be interesting to know whether some of the people who have stopped posting here over the years felt the same way .
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50 cent samples bob james & ray brant?
Two for a buck does seem expensive for a Bob James sample....
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O.K. , Anita may not have been a looker , but she wasn't a butch frump either
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My copy of the OJC 1991 (Limited Edition Series) cd of Wallington's Jazz For The Carriage Trade lists Arthur Taylor as the drummer. Is this a misprint on the cd?
The Lord discography has this session footnote : "The Prestige Label Discography by Michel Ruppli incorrectly lists the drummer for this session as Bill Bradley. He is pictured on the cover of Prestige LP7032 but only replaced Arthur Taylor after the recording session."
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The photo and tint job suggest that one of Hampton's 'many sides' was ghoulishness !
Kind of makes you wonder if Hamp had complete artistic control over his own label .
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Salongo must be Swahili for "geek" ....
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What's an obi strip?
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Had to bring this one back up....
And in the same Halloweenish spirit , we have this ode to bad lighting :
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I had low expectations for the book and it met them . I imagine that as with Mosaic , licensing played a part in the choices , but even within those limitations more interesting choices could've been made . I'd like to have seen many more 10-inch covers and perhaps even some of the more interesting back covers as well . Minimizing duplication with other previously published cover art books doesn't seem to have been a priority . Manek Daver's Jazz Album Covers: The Rare and the Beautiful remains the best book on the subject to date .
Is any jazz cover book complete without this one ?
More to the point , is any jazz piano music collection complete without this one ? I'd say , "No" .
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Lots of possibilities for a thread like this . For now I'll start with these three -
1) Ed Thigpen - Out of the Storm . With Terry , Burrell , Hancock and Carter , this could've been more interesting than it is .
2) Dannie Richmond - "In" Jazz for the Culture Set . Even for a recording done with an eye toward sales , with Raney , Thielemans , Byard and McBee , one might've expected something that doesn't utterly waste their collective talents .
3) Stan Getz - Dynasty . This is by no means a bad recording , but my expectations for Getz , Louiss and Thomas were quite a bit higher . In my opinion , the level of musical inspiration/interaction here doesn't warrant the double-album treatment this recording received .
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Michel was correct , the organ in question was a Wersi , a Saturn W 3 T to be precise . Recorded in 1980 , the LP was issued in the U.S. on Inner City and apparently also in Germany by the Wersi company themselves . Here's the Inner City cover :
Currently available on this Laserlight CD :
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That Brownie-Roach record is not a 78 .
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What was on side 1?
Red Callender Swingin' Suite
in The Vinyl Frontier
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The Callender ( done at the end of '55) does not pre-date the Rumsey , Pell or Niehaus Octets . I agree however , that it's not a bad record .