wesbed

I don't know anything about Curtis Amy. I just now listened to the song samples from the Amy Select at the Mosaic web site. If the three sample songs are an indication, the Amy Select looks to be an excellent set of music. The cut with the organ and the valve 'bone, very nice. The third song sample with Amy on the soprano saxophone, whoo hoo!!

You know, I second-guessed myself about this fact after I submitted my board post. After pressing the submit button I wondered, did Una Mas come before The Sidewinder? I was at work and couldn't look at my RVGs to be sure. According to the RVG back covers, Una Mas was recorded in April of 1963 and The Sidewinder was recorded in December of 1963. This information makes my original statement about Una Mas, quite frankly, untrue. In that Kenny Dorham was attempting to create his own Sidewinder. However, both albums were recorded during the same year and during the same style/era of Blue Note music. This information, regarding the recording date of Una Mas, adds to my idea that Morgan didn't plan The Sidewinder to be a commercial success. Rather, Morgan was following in the current style of Blue Note in those months. Jeez, maybe Kenny Dorham created the first Sidewinder and The Sidewinder was the first Sidewinder knock off? I was listening to Una Mas a few weeks ago and thought, to myself, this song is just as good (or as bad) as that damned Sidewinder! I read somewhere, can't remember where, that jazz fanatics were disappointed at the release of The Sidewinder, that Morgan had sold-out and tried to become more mainstream. I'm glad to learn/realize that Morgan was following one of the styles of Blue Note at the time, that he probably didn't plan The Sidewinder and probably didn't plan to sell-out. Maybe I should check the recording date of The Turnaround as well?

I don't watch college football, hardly any football at all. I was on the Ohio State campus two weekends ago. At least, a part of the campus, the place seemed huge to me. I'm bored with Buckeyes.

I believe what you write is the most accurate thing I've read about Lee Morgan and The Sidewinder. Thanks for your words of wisdom. Also, thanks for your very poignant post to this thread. Through your words I could nearly see scenes of 'you' at 18 years of age, living in New York/New Jersey, and going to college in 1964. I was born in 1966. I missed those years.

I wonder if it's some kind of temporary 'drop' in the internet? Something to do with physical location or IP number? The site works for me. http://jazzmatazz.info

I had to laugh at the cat ears poking through the top of the hat.

As a sideline: I believe this is the first time a pic is used by two different board members in succession - this was my next-to-last ava... - ehm couwatar. If we're running out of avatars, this one is still free: Maybe... if you replaced the cat's head with a Michael Jackson head?

The Rumproller… hmmm. I view The Rumproller as being an extension of The Sidewinder. Both have the same kind of sound being that both are products of Lee Morgan from around the same time period. To me, there is something more genuine or ‘real jazz’ on The Rumproller which is not present on The Sidewinder. I believe both are good sessions and are much more enjoyable than the negative connotations usually given to The Sidewinder. For me, both sessions, while not being the absolute best of the Blue Note catalog, are quite good due to the presence of the player who’s made several sessions much better due his presence, my main man Joe Henderson. Note what Henderson added to Song for my Father, Point of Departure and Idle Moments. I’ve heard/read so much negative about The Sidewinder. Yes, I, too, am tired of the Sidewinder knockoffs (the songs The Turnaround and Una Mas come to mind). I’ve always thought Lee Morgan planned The Sidewinder to be popular and didn’t realize, till reading these boards, the Sidewinder’s success may have been mostly attributed to a TV commercial. It seems a little odd that Morgan attempted to create a second Sidewinder with the Rumproller. Also, that Hank Mobley tried to create his own Sidewinder with The Turnaround, and Kenny Dorham with Una Mas. When, in truth, a TV commercial may have been the true success of The Sidewinder. The Rumproller is good. After listening, again, to The Sidewinder, due to my purchase of The Rumproller, I’ve come to the conclusion that both are good sessions and are better than my memories of The Sidewinder warranted. I’d pick The Rumproller/Sidewinder titles as being more enjoyable than, say, Leeway. Although all three Morgan sessions are worth having, listening to, learning about, and enjoying.

Didn't happen! I'm imagining Kenny Gorelick hidden under that long hair and dark jacket (but not for the same reasons as Michael Jackson). Feh!

I dig it too! After making several trips to Columbus, Ohio (from Tucson, Arizona) over the last few months, I'm damned tired of hearing about Buckeyes. Is a 'buckeye' the same thing as a 'chestnut?' "Buckeyes roasting on an open fire..."

Sorry, but I really hate Oranjeboom; watery beer which used to give me bad hangovers (don't drink it anymore). Duvel is a great Belgian beer, I love it. I have a couple of friends who laughed out loud at me for saying I thought Oranjeboom was a good beer. Another friend took my recommendation, now loves the brew, and drinks nothing else. I'm thinking maybe Oranjeboom is either loved or hated?

I was on a long-term phase with Oranjeboom through most of the summer. With winter moving in I'll be more interested in heavier beers. I like Guinness (of course!). I believe some of the world's best beer is brewed in Belgium. Chimay is good for a special occasion. I've had very enyoyable times with Duvel.

...And that's an understatement... Hans: From a European viewpoint, what do you think of Stella Artois? Is it considered a 'good' beer or on the same level as Heineken?

Brubeck's Time Out and Miles' Kind of Blue are both 'musts' for me. I remember finding these titles stacked at the bottom of my Dad's closet (cira mid 1980s). He'd purchased the records when he was in college in the 1960s. I was intrigued by the covers and more intrigued by the music within. These two albums helped me transition from Spyro Gyra and Chuck Mangione to 'real' jazz.

Does Coltrane play on that? B)

I want one of those Steely Dan T-shirts. They got the house on the corner With the rug inside They got the booze they need All that money can buy They got the shapely bods They got the Steely Dan T-shirt And for the coup-de-gras They're outrageous Outrageous!

I dig it too! After making several trips to Columbus, Ohio (from Tucson, Arizona) over the last few months, I'm damned tired of hearing about Buckeyes.

I believe we will not be able to escape the Michael Jackson news, for quite a long while, no matter how hard we might try to do so. I was just getting some coffee in the break room where I work. The TVs were turned on and all eyes were directed toward the Michael Jackson coverage. It's sad how the so-called news has become such grand entertainment.

I like this.

For what it's worth (and it ain't worth much)... 1. Unitarian Universalism (100%) 2. Secular Humanism (98%) 3. Mainline to Liberal Christian Protestants (95%) 4. Nontheist (95%) 5. Liberal Quakers (85%)

I just now ordered the John Patton Select. I have faith Mosaic will get the box delivered to me in a timely manner. There, that's my faith.

The board was 'sporadic' for me last night for about an hour. It seemed okay after that period of time. I wonder how the number of users affects the speed of the software and the connection to the hosting server?

This is quite an interesting set, indeed. Upon my first listen all the way through, I didn’t think much of the third disk containing the ‘African’ music. It was so… un-Blue-Note. I’m not as much into an orchestrated big-band sound as I am into a small-band quartet or quintet type of sound. Upon further listening, however, the ‘African’ music has become more and more acceptable to my ears. Weston finds a way to blend familiar jazz instruments and players into a mix of recognized instruments in the foreground supported by African rhythms in the background. It kind of gets under your skin upon more than one listening. This music had to be way ahead of its time, in its time. I mean, it is jazz and world music combined. It was world music at a time when the term ‘world music’ most probably didn’t yet exist. With the combination of the jazz orchestrations in the foreground and the African instruments filling the background, I’m sometimes reminded of an acoustic version of the ‘wall of sound’ style displayed by Miles Davis on the Bitch’s Brew sessions. Again, I want to thank Mosaic for opening my mind & ears to a style of music I’d never have experienced/discovered otherwise. And, again, thanks to Malcolm Addey for a superb remastering effort.

The single song, The Sidewinder, was issued as a 45 record? The Sidewinder song was on both sides of the record? The same version of the song was on both sides? Or, the song was too long for a single side so it was broken in half, half on Side A and half on Side B? How did this work?

I’ve been listening to the Columbia CD version of Miles at the Black Hawk this evening. All the players play very well. Miles on the trumpet, Mobley on the saxophone, Wynton Kelly on the piano, Paul Chambers on the bass, and Jimmy Cobb on the drums. These are very good sessions, well played by all involved. I’ve read that Miles had some beef about Mobley. Mobley plays at his Hank-Mobley-best on these live dates. What did Miles expect from Mobley, other than… errr… Mobley? What was Miles’ major malfunction?