Harold_Z

From around 1972 thru 1986 or so my system was a Dynaco, AR, and Cerwin-Vega speakers. It was a great hookup.

I heard it in the background at a party the other night and I obtained a copy that I haven't listened to yet. Prior to hearing it, I had been thinking it was Eric Clapton doing solo guitar and vocals and I was somewhat disapointed to find out a band was involved - even a band with guys like Billy Preston and Steve Gadd.

I think Dan has a good point and is pretty much right, although I think perceptions may be pretty subjective here. I can only speak for myself and I was a kid then. Basicly what I remember is one piece Mono setups in the early and mid 50s. A box that contained a speaker and a turntable that played 78, 45, and 33 1/3 records and was erroneously called a victrola no matter what company manufactured it. flipover cartridge. My first box was like that and when I got a stereo it was almost the same except the lid contained a speaker which you would place in the proper position to obtain the stereo effect. The only other hookups I saw were console type things that had space below the turntable to store records and were nice pieces of furniture. I think, but I'm not sure, they had beter bass happening. Once I knew what was going on I got a Garrard type A turntable, a Heathkit FM, soem kind of amp and speakers and I became an audiophile. I had components. ....But never as good as a juke box !

Real good playing on this one. Strong drums kicking good solos and a very strong trumpet section. In addition to Lew Tabackin and the above mentioned, Gary Smulyan on Baritone also sounds great.

Yeah...the worst so far this season. The Sopranos is the greatest series on TV imo, but now and then they simply tread water. I guess the mai points were: A: That life for Carmela is not much better without Tony than with. B: Tony Blundetto can't and won't stay straight...but this point was made in an awkward and ultimately unrealistic fashion. The beating of the Korean store owner was in left field. It was just too far out, a non-sequitor, there to show us that a leopard can't change spots. The writing wasn't up to the usual standards.

That's not the Al Casey of Fats Waller fame. There was (is?) an LA studio guitarist of the same name. I recall he was involved with the Duane Eddy (among countless other sessions) series of hits and might have been the actual player on those.

Thanks Mule. Nice article. Too bad the studio scene has dried up to the extent it has.

I think the sound on the Verve stuff is better - typical of Verve sound in the 50s and 60s and I think the rhythm sections are more 4/4 or swing oriented than some other Ory I've heard.

I like this set a lot. If you think you might like it, I would go for it - I don't think it will see a lot of reissue action in the future and even when the original Verve lps were out you didn't see a lot of them.

My copy, and any I've seen in stores. is as Chuck describes.

Welcome aboard. Hope you're posting soon.

A deposit or bread up front is the standard protocol for guys that have revealed their business ethics to be shaky. Most of the time they'll run the other way when they hear words like deposit, but you really aren't losing anything.

I enjoyed last night but it bordered on sitcom. Some good lines tho. Chris' line about parade float and Junior's line about the sun visor.

Goldie doesn't bother me either. He had very impressive chops and could be somewhat florid. I think it is this aspect of his playing that turns off some listeners. That being said - he was never the jazz player that Bobby Hackett was, although his technique and range surpassed Bobby's. Goldie would have been capable of first chair in a section and that's something Bobby - or Wild Bill for that matter - couldn't do - and didn't aspire to.

I figured it was time to bring this one back up and see if anyone else was following the show. By the end of the second episode I was definitely enjoying this show. The plot is really starting to firm up and ...well...I'm hooked. I really am looking forward to the 3rd episode. As far as the language - I've read newspaper articles (and opinions in this thread) saying it's inauthentic and I've seen articles claiming the writers went to great effort to produce language and profanity congruent to the timeframe. One way or the other, it doesn't really bother me. With this show and previously with Band Of Brothers, I found I had to turn the volume up higher (or wear phones) than I really wanted to in order to catch all the dialogue. As with the Sopranos, I think the casting is right on. Robin Weigert is great as Calamity Jane and Ian McShane's Al Swearengen is a great villain. All in all I'd like to dig up some good books dealing with this period.

Funny that this thread should pop up at this time ! I've had COMPOSER since it came out, but hadn't listened to it for years until last Saturday. I heard Groove Passage on the car radio and really enjoyed it. I pulled the cd out as soon as I got home and I've listened and enjoyed it several times since. Nice playing by all concerned. Roy Hargrove sounds real nice in his Lee/Brownie bag and I'm more impressed by Vincent Herring every time I hear him.

I totally agree Nina. I recently obtained this cd and really enjoyed it. It's really got a lot going for it. Great singing, great sidemen and interesting, intense, well arranged and highly entertaining vocals.

I like pretty much all I've heard by Andy Bey. He has a great voice and uses it with a great deal of musical intelligence. I've heard a couple of things off his latest cd and thoroughly enjoyed them. Speak Low is a standout.

The last scene - with Carmela facing the empty room - Literal or symbolic? I'm betting symbolic. Any opinions?

He sure sounded a lot like Lester!

Downbeat just seems like one big advertisement. I've been reading it since the early 60s (maybe earlier) and I used to enjoy it, espescially when KD was doing record reviews and things of that ilk. I wasn't as aware of the business angles when I was kid, but maybe also it wasn't so blatant then. Now it's all to apparent.

I love the ODJB and pretty much agree with John L. regarding their place in Jazz history. I CAN stay with them through the course of a cd and enjoy every minute of it. BTW - I hear a bass drum audible here and there on those RCA 1917 sides, contrary to what I've read where a bass drum wasn't recorded until McKenzie and Condon's 1927 date with Gene Krupa.

Man ! There's a lot of good Hawk and this is another. Hawk is playing his butt off on this one. The sound ain't the greatest, but it's listenable and Hawk's playing makes up for any deficiencies. Kenny Clarke is here and swinging and MOODY pops up on quite a bit of the disc! There is a very swinging almost 8:00 minutelong THE MAN I LOVE on this

WORD !

I'm with jhoots on this one. I liked it enough to want to see where it goes. Besides - the Sunday 10:00 pm competition is totally LOUSEEE.