Harold_Z

There's the American Music GHB release...that's from a film short if I remember correctly... AND there's the new disc which is a reissue of the Folkways 10" lp (and I guess there was a 78 release also). ...and I wholeheartedly agree with all the praise lavished heretofore upon these invaluable recordings.... Now I wanna check out what's on that JAZZ ARCHIVES NEW ORLEANS DRUMS before I score to see if I have it on other issues,

Jimmie Lewis was with Basie in the 50s. I saw him many times live in the early 60s with King Curtis - he preceeded Chuck Rainey with Curtis. Great player on both upright and Fender. I know he did a lot in later years with pianist Red Richards and remember seeing him on TV with Red and Alberta Hunter. I think he mainly freelanced on the NYC scene after the gig with Curtis.

Nobody is forcing ANYBODY to read or respond to ANYTHING. If you don't dig it...just lay out 'til the chorus is over.

True...but in the case of many recordings (and particularly the first cd reissues of some of the more important recordings) the existing issues leave much to be desired. So if I know that Columbia (Sony), for instance is planning a reissue of vintage material, and I know that I like the sound of recent Columbia issues, I tend to wait for the new issue. Same with John R.T. Davies, or Malcolm Addey, and a number of other sound restoration experts. If I know an issue from them is forthcoming, I'll probably wait for it.

He's on a lot of the Ike Quebec Blue Notes and sounds fine. He's mostly known as a Motown session dude. There's an old Motown lp by Earl Van Dyke and the Soul Brothers. I don't know if it ever made it to cd.

Ok...we can safely NOT add this photo into the batch with the BUDDY BOLDEN and RED McKENZIE archive of questionable jazz photos. Safe to say MOSAIC flipped the negative. Chris and P.D. - - - you both have my admiration for posting two droll, sarcastic posts. I love sarcasm.

Dan, I haven't heard the Jimmy Forest/ Grant Green CARAVAN - but I take it it's uninspired??

Dan, you never know what somebody may bring to a tune. For me that's one of the great things about jazz. Any tune is cool with me.

I was 18 in 1964. It was my first semester of college and I was working weekends as a musician. The Radio station at the time that I listened to the most was WNJR- AM in Newark NJ. At this time very few cars had FM radios, WNJR's programing was devoted to Gospel in the morning, R&B in the afternoon and Jazz after midnight (or maybe 1:00 AM). It was here that I first heard THE SIDEWINDER, MY FAVORITE THINGS, SONG FOR MY FATHER, etc. (Also Aretha, B.B. King, Jimmy Reed, Muddy, Claude Jeeter, The Swan Silvertones, the Five Blindboys.... etc) As far as I can remember there was no 24 hr a day Jazz station on AM or FM in the entire Metropolitan New York area. WEVD-FM and WQXR-FM devoted some time to Jazz, and I mostly recall Mort Fega and a weekly 1 hr program with John S. Wilson on Wednesday nights at 10:00. THE SIDEWINDER got frequent play on WNJR. Was the average rock or pop fan aware of it? I don't think so.....nah. Was LEE MORGAN a well known name...only to Jazz fans. But in 1964 there were a GREAT many more "casual" jazz fans that there are now ...semi hip people if you want to call them that. The two Jazz albums that everyone had in my first year of college were THE SIDEWINDER and the LOU RAWLS LIVE album on Capitol. The Basie ATOMIC lp was around a lot too. THE RUMPROLLER came and went unnoticed by the casual fans. It never achieved the popularity of THE SIDEWINDER....And as I remember it..CORNBREAD was the next attempt at this kind of hit.

Same here. Hope it comes back.

Not positive, but a lot of guys took whatever dates came their way and I don't see why Sam would be an exception. Easy bucks and often during the day.

P.D. - Where can you order Fresh Sounds from?

I suspect that Sam Rivers appearance was limited to an overdubbed soprano solo on THE JEALOUS KIND and that probably he was there as a result of arranger and Co Producer Richard Tee's contracting the horns for a sweetning date.t There are 3 or 4 studios mentioned in the credits. The Rhythm tracks at least were apparently done in Jamaica and finishing touches added in Manhattan....and that is where I suspect Sam entered and the horns were added. I wouldn't be surprised if some research turned up an earlier album of some sort where Tee and the other Stuff guys worked with Sam. Those guys recorded with everybody in Manhattan in the 60s and 70s.

To add to the wonderful stuff mentioned above.... There is an obscure Ruby Braff LP called "You're Getting to be A Habit With Me" on BELL label. It's absolutely terrific and deserves reissue. Ruby's 50s stuff on RCA and Vanguard are great too. Also a Bethlehem lp called "The Many Angles Of John Letman" by Trumpeter John Letman. Great session with Panama Francis, Kenny Burrell, Dick Wellstood and Bill Pemberton. Of course anything by Johnny Hodges fits the bill. It's a drag the Jimmy Rushing's "The Smith Girls" on Columbia hasn't seen reissue.

Lon hit it on the head. It IS system dependant and any particular system may not be optimum for a particular remastering. Perhaps fiddling with the EQ can help. Just prior to the release of the latest Armstrong remastering, WKCR played many of the original 78s on air with only "on the fly" EQ'ing . They sounded incredible (they also played the ODJB 78s on another show - also incredible). It is a credit to the recent remasterings that they have essentially sucessfully transferred the sound of the 78s to CD. I've owned the Armstrong and Holiday material in many diferrent issues. The Columbia lps from the 50s sounded great, as did the Frence CBS complete issue. Without a question the late 80s - early 90s Armstrong issues (at least the 1st 2 volumes) were the worst issues I heard, and I found them totally unlistenable - I just continued on with my lp issues. I think the recent issues are the best I've heard. (BTW - the earlier cd issues improved as the series progressed chronologically. By the time it got to the big band material it sounded OK to me). The early "Quintessential" Holiday issues were not as bad as the earlier Armstrong cds , but nowhere as good as the latest remaster.

Mug and brush do the job for me- and I have both a Mach 3 and an older Atra. The Mach 3 handles better. I change the oil regularly and they both run fine. (rim shot) ...but seriously folks, If you haven't tried the mug and brush routine, do so. For those of us who are heavy in the five O'clock shadow department it's almost the best and easiest on the epidermis. The shaving in the shower routine surpasses it and you get used to shaving by feel without a mirror pretty quickly.

It's not one I listen to often, but I've had the lp since it's release. Buster Williams and Toodie Heath got my attention on this one. THEY sound pretty good here.

Oh yeah...in addition to all the above...on several photos and on at least one or two lp covers Booker is wearing an eye patch. In additon to all else I guess he had one eye.

Hmmmm...I checked the before 20 box, but it looks like it registers as the "in my 20s" box or I goofed. In any event, I actually was bitten by the jazz bug when I was 10 or 11, maybe a little earlier - sometime in the mid to late 1950s. I can remember the variety shows of the era (Sullivan, Allen, etc) and always being fascinated by appearances by Louis Armstrong, Basie, Ella, etc. My uncle had a small jazz collection consisting of 2 or 3 boxes of 78s (any remember those brown 78 cases covered with phony leather paper?) and about 30 or 40 lps, mostly 10" at the time, but a few 12". Lots of Louis and Condon. Lots of COMMODORE! He put some on during a New Year's Eve get together and I was hooked. Within a year or two I was digging Miles and Bird along with Pops, Condon, Duke, and Wild Bill Davison. I was reading DOWN BEAT and wondering what the hell were the boppers and moldy figs arguing about.

Booker was pretty FLAMBOYANT. There's a lot about him in DR JOHN'S autibiography that came out a couple of years ago. I think it was called UNDERNEATH THE VOODOO MOON. In any event, it was a pretty good book. Booker was a huge influence on Dr. John both singing and playing. Booker reputedly ghosted piano parts for Fats Domino and Little Richard, moreso as a recording expediency, rather than any insufficiency on the part of Fats or Little Richard. He played organ also and played that instrument on YOU CAN'T SIT DOWN, a pretty hip instrumental by the PHIL UPCHURCH COMBO. He recorded under the name Little Booker for Ace. In the late 70s and early 80s there were at least 3 or 4 lps out by Booker. I remember one was called CLASSIFIED.

Yeah...I'm hooked again. I was sitting there wondering which of the characters was going to turn this time. I'm suspicious of Kim's boyfriend, the President's brother, the computer geek who argued with Kim, etc. Jack's been through the mill, but it looks like he's going COLD TURKEY (!) right in front of us...as we watch! The only really predictable scene for my money was Salazar's "pen through the neck" trick. I saw that coming.

Yeah....This is great stuff. I didn't get the entirety until the Mosaic set either. The front line of De Paris, Hall, and Dickenson is great and the rhythm section is swingin'. James P. is a total blast throughout.

Thanks for a great disc Jim. There's A LOT here that I dug and it will definitely get me exploring a few people I've haven't previously spent enough time time listening to. One in particular I'm bugged that I didn't get is the Lee Morgan cut. I usually can ID Lee pretty quickly, but the Miles approach fooled me. I HAVE that record too (!), AND I liked it - I just haven't paid it it's proper due listening time. Jack Wilson is definitely going to get further listening to from here on. I dug his playing on that track.

The TARGET commercial is the same tune with English Language lyrics (as opposed to the original Brazilizn lyrics) and the vocalist singing that commerical is.....PEGGY LEE. Just a little blindfold test within a blindfold test.

Ditto