andybleaden

You cannot just rush into these things

I must admit this does sit a little more factual ( always a guarentee of its falsehood!) than the But/If line. Would be interested to find out. Will have to force myself to another listen to see again A

Now its making a little more sense to me. I have had both sets for quite a while now. (the Fresh Sounds on cd while I had the Blue Note double lp and then got the wonderful Blue Note Box Set which ( thanks DavidW) I thought was a gorgeous treat for Lee Morgan fans and a truly interesting piece of history for any Morgan fans. Back to the original topic from yesterday I would advise that if you have the BN box and you like that then get the Fresh Sounds one...the sound is not as oggod I will warrant but still enjoyable. In my humble opinion.

thanks one and all....got a glass of perry and some stefano bollani downstairs so I am offski for a bit and then I will chill with some Lou Donaldson that I have saved for today with Lonnie Smith. thanks Andy as my matey just rang and said Deiz-ha-bloaz laouen deoc'h!!

Again I have to concur with both of your comments. Picked this up recently as a complete stranger to his music until I realized he had worked with Grant Green on Visions etc. Really corking tunes on this and the other LP of his which was ...er, um, erm...oh yes Out of this World i think. Both pretty rare vinyl wise that go for silly money on ebay but well worth a listen to ...btw here is some info via an interview with Billy Wooten . I was thinking of starting a separate thread just on his music courtesy of http://www.stonesthrow.com/funky16/wooten-interview.html Fascinating and different insight BILLY WOOTEN INTERVIEW Vibist Billy Wooten played in nearly every American city throughout the 1960s, but he maintained a hankering to visit Indianapolis - a city with a jazz history that enchanted him. His reluctant booking agent – arguing “Indianapolis is dead” - eventually granted his wish, and Wooten fell in love with the city. “The first time I was there was for one week, then two weeks,” Wooten remembers. “The next time was for a month-long engagement.” While there, Wooten impressed Janie Robinson, owner of the 19th Whole, Indianapolis’s jazz hotspot. In 1971, after recording the landmark “Visions” and “Shades of Green” LPs with Blue Note guitarist Grant Green, Wooten and his crew returned to Indy from New York and found Robinson waiting with open arms. They remained at her club for six years, cutting their debut LP there before signing to the Eastbound label to release an album, “Smiling,” under the fitting name The 19th Whole. Here Billy recalls that magical, spiritual times that informed his soulful jazz stylings. E: Let’s start off simply – where were you born, and how’d you get your musical start? B: I was born in New York and I’ve been involved with music my whole life. My first instrument was the piano, which I started playing in school. I also played trumpet, trombone and French horn. E: And your professional start? B: I graduated from High School, and went on to Rutgers University. A guy writing for Deon and The Belmonts heard me at a jam session. At that point, he’d never seen the vibes before. He said to me, “Hey, I think that would fit in good on our show.” So I went on the show. He had Buster Brown, Gene – actual name of the group was Dean and Jean. He offered him some money to travel. That was the end of college! I started as a vibes man, playing nothing but tbe blues. This was about 1960 or 1961. E: Then what? B From 1960 to 1963 I was doing a lot of traveling. In 1964, I was commissioned to put together a group for a tour – Soul Sisters, Two Tons of Fun. Here it shifted more to Billy Wooten and The Invaders. That was the group name. But not by my choice, I’m more into equal billing. Never looked at me as being a bandleader. To me we were all equal partners. At that time I was Doing r&b and jazz. Also I was doing a little Latin with Chico Mendoza. E: Who else did you work with at the time? B: Through that time period, we worked behind Gladys Night, Smokey Robinson – all the guys out of Motown stable. Things took off with my own group. We lasted together up to about 1968. E: How did you end up in Indy? B: I was always interested in history – especially musical history. And I’d heard all these wonderful stories about this town called Indianapols. I was always begging my agent, “Send us through Indianapolis.” I figured I’d do some research, meet some of the old guys. As young guys growing up we’d hear about all these fantastic musicians and all these places to play in Indy. And my agent said, “You don’t want to go, there’s nothing there anymore!” He was sending me everywhere but Indy! We had a job in Hopkinsville, KY and then we had two weeks off. Lo and behold, he said, “I’ll go ahead and send you through Indy.” The first time I was there was for one week. Next time was for two weeks. Next time was for a month long engagement. Through the blessings of God Almighty, we had built up such a following that when we came through the last time, for the four weeks, a lady from another club, the 19th Whole, came to negotiate with the guy that owned the Hubbub and unbeknownst to me, bought my contract. I’m serious! E: What caused you to set root in Indianapolis? B: Because I met an Indy girl in 1973! But before we get to that point, the longest we stayed at the lady’s club was for six months. That was the longest I’d stayed in one spot, other than my hometown. During that time I met Spider Harrison. I started doing jobs around there, recording projects. But I got disenchanted with being stuck in one town. A friend of mine, Rick Powell, had moved from Washington DC to Chicago. He came through town and played for two weeks. He said, “Why don’t you come up to Chicago, man, it’s time for you to move up to a different level.” I took him up on the offer. In that time, before 1973, I had the chance to work with Donny Hathaway – I did some recording through Donny Hathaway for Jerry Butler. I worked with Odell Brown and The Organizers. As I was moving up the ladder in Chicago, I got the opportunity to record as a featured artist with the Soulful Strings. On the last two albums - Plays Gamble and Huff and Richard Evans and the Soulful Strings on Atlantic. In between that time Grant Green sent an organ player named Emanuel Riggins and a drummer Harold Cardwell – who were working with Grant - to get me “by gunpoint.” E: Interesting, very interesting. B: When I was in Indy, and he came through we did a series of concerts together. He said then, “Man, I’d sure like to have some vibes added to the group.” I never thought he was serious. So I look up this night, Riggins had come to the place I was staying. He said, “I didn’t know what time you got off but we were going to wait ‘til you got here.” He pulled out his pistol and said, “Go upstairs, get your clothes and whatever you want. We paid the landlady so you don’t owe her more money.” He said “We’re outta here, we’re supposed to meet Grant in Buffalo, NY.” I said, “Put that gun away!” He said “No, Grant said to come get you!” (Laughs) I knew them, ‘cause we’d traveled the same circuits. They told me what I’d be making, and there were several recording projects coming up. So I jumped in the car and said “Well, let’s go.” We traveled with Grant from 1969 to the latter part of 1971. E: Did you record any albums with him? B: With Grant, we did Visions and Shades of Green. As of circumstance, the record company took over Grant’s business affairs. We didn’t want to go with what they were talking about – provide all the music for Grant’s sound. We gave Grant a brand new sound – in fact we gave him his first hundred thousand seller. And I’m not just saying that. But they wanted us to be the touring band, and not the recording band. The movie score (for The Final Comedown) was coming up. They wanted us to rehearse the music and teach these other guys our style and our sound. So we all talked about it, even with Grant, and said “We’re in this for the immortality. To take this away is to take our lives away.” E: Right, you wanted to have your musicianship documented on record. B: Grant sorta agreed, but his hands were tied because the record company were paying the bills. E: What happened? B: The guys looked at me, and I said, “The only thing I know is the lady I left in Indy.” So I called her at the 19th Whole, and she said, “PLEASE come back!” She welcomed us back, she never quibbled about money or anything. She had a house and they treated us – you know, how they used to bring the musicians in the 11th, 12th century - we were paid, they furnished a good house. Coming out of the East coast, I didn’t know what a house was about! I was always an apartment man. She initially furnished us with automobiles, too. I don’t want to sound like I’m bragging, but the club was packed six nights a week. And two matinees! E: Man, I wish I could have seen those shows. B: They were something to behold. Musicians would come from all over – Wilbert Longmire would come from Cinti. From all over! It just so happened at that time, it was a black area. You must picture where Indy was sitting in that time. It was almost unheard of to have black and white musicians mixing together. Well on the Friday or Saturday matinee, it didn’t matter what color you were. “Can you play?” “Yeah!” or “Can you play?” “No.” “Well you’re gonna play anyhow!” It was a utopian environment. E: And you yourself were a musician on the move. B: The first year, 1973, Roy Ayers and myself were tied in Downbeat’s Upcoming Vibe Players. We were tied for four. In 1974, we both moved to number three. I started seeing certain thing happening from the business end. Spider was giving me a lot of knowledge too. E: By that time you had settled in Indy. B: I got to looking at things from the socio-political standpoint - Indy represented the most longevity for playing music and for developing myself into other businesses. You know, getting prepared for age transition. Spider would keep me on the radio - people thought I was part of TLC. When I first broke The Wooden Glass LP, he wrote the liner notes. E: The Wooden Glass – that was the name of your group with Emanuel and Harold, was it not? How did that name come about? B: The actual Wooden Glass came from Kalamazoo, Michigan. We all liked Antique shops. Manny found this wooden goblet – he said, “That’s it, we’re gonna call the group the Wooden Glass.” I said, “That’s too close to my name, I don’t want people thinking, ‘Here’s another guy who wants his name up front.’ ” He said, “Damn your name, that’s the name of the group! It’ll never break – the Wooden Glass.” We looked at it, and said, “Fine.” They said, “You brought us here, so it’s gonna be the band featuring Billy Wooten.” They said, “You have no say in it, it’s our say so.” E: Now here’s a good question – which came first, your Wooden Glass album or the 19th Whole album on Eastbound, both with the same players, and one of the same songs (“Monkey Hips N’ Rice”) B: The 19th Whole album was recorded just about the same time we were getting ready to record the Wooden Glass Live. In that time, we didn’t know we were going to get a chance to record for Eastbound. Instead of sitting back and waiting, we said, “OK, let’s record this album.” As we were in the process of mixing it down, Eastbound came up with a contract. E: The two albums are very different though. The live album is a very relaxed workout between you four… magic to behold. B: The Wooden Glass album was a night at the club. We were recorded there by Bob Todrink, he Mic’ed the club E: You guys are very together. B: We met through travel first. For instance, if you were traveling the Midwest, when you got to Cleveland, you might be playing at the House of Blues, and Riggins would be at the Majestic Hotel. Many times we would hit the same cities at the same time. We’d all get together and eat - and on our days off we’d get together and jam. E: How about William Roach? He’s on the album, and he’s played with a bunch of Indy notables. B: Roach is from Indy. Roach has been with all of them! He’s played with lot of people, The Presidents even. Even with The Highlighters! He did some stuff with Marvin Gaye, too. He was a good accompaniest. E: What about the label? Did you run it? B: Interim was my label. It was expensive to put out those records! But that was par for the course. E: Whatever happened to your Eastbound career? It didn’t seem like it took off. B: In between all of this, the marriage with Eastbound never really materialized. It wasn’t a negative, but as touring musicians, we wanted more than just to record. They wanted us to hire our own road manager, booking agent etc. We recorded only one album. In there we made the decision – it’s one thing to record a record but if you’re not touring you’ve only won half the battle. They wanted another album, but they didn’t want to give us any more money. We were going to take money and go hire tour people ourselves! We weren’t really businessmen, we were musicians - still honing our craft. We wanted to tour, travel and meet people - learn other forms of music. We started touring but Emanuel got married and moved back home to Warren, Ohio. In between, he joined the Nation of Islam. He then moved to Detroit. Harold and I played together. We followed the Jimmy Smith circuit, the early George Benson circuit. Then, he got married became more localized. So I focused on less travel and more business. I started doing radio and television commercials – again Spider was very helpful. This was between 1975 and 1980. E: So all in all you were at the 19th Whole… B: We played at the 19th Whole for at least six years. The Wooden Glass was together ‘til about 1974. In the 80s, I kept with music. By staying in Indy, I extended my musical career for 15 years. In the 80s, I started doing television and radio. And international events. Up to last year, I’ve performed for Oscar De La Renta, Audrey Hepburn… I’ve played for presidents, ambassadors! And once for Bill Clinton. E: And you’ve now returned to music full time. B: In 1994, I sold the business and have been doing nothing but music. I have no complaints. I think I’ve been more blessed than anyone could ask for. E: Nearly 30 years later, what do you think of the Funk experience? B: Funk – I would have to say it was the accumulation of all the musical, educational experiences I took. We were playing all types of music. But by the end of the night, we were more on a spiritual plane as opposed to thinking “What song are we gonna play next.” Please don’t think I’m being abstract, but we were into the metaphysical aspect of the music. In essence, “What is it coming out of your body and mind and what is the music going to communicate?” Do you want to show how much musical knowledge you have? Or are these people in a social environment, related to the church experience, or everyday experience? People coming into the club wanted to hear that, feel that. At the same time we enjoyed that too. That’s the same sound we gave to Grant. You’ll hear some of that same style behind his records. A vision that will always stay in my mind - I was told Grant never had as good a time as when he was with us. Grant would get on that stool and be rocking back and forth. Riggins would be over there, with his head all up in the air, left foot and right foot on the pedals. Harold would be there, playing. When you see that, it’s as if you’re in the middle of Santana’s band. I can always hear Grant say, “Oh come on babies, come on!” ‘Cause we was young guys! And when you set that groove to ‘em, that funk groove - well, you guys call it funk, I just call it the groove - when you set that groove in there, it’s like making love. Grant would say, “Come on babies, come on. Let’s make love tonight!” I know that’s a little off center. I’m human too, there’s many time when I get depressed. You know what I’m saying? You reminisce, think about times like that and it puts a big smile on your face.

maybe you might mean the track which was on this LP http://www.rhapsody.com/teddyedwards/sunseteyes also talked about here http://www.allaboutjazz.com/php/article.php?id=2962 1. Tempo De Blues 2. Vintage '57 3. I Hear A Rhapsody 4. Up In Teddy's New Flat 5. Sunset Eyes 6. Teddy's Tune 7. Takin' Off 8. New Symphony Sid, The - (bonus track) 9. My Kinda Blues - (bonus track) 10. Takin' Off - (first version, bonus track) He also recorded the Teddy's New Flat on Dial in the late 40's

me too...who said the internet and mp3 would kill recorded music...can't wait Andy

the new uk jazz digital radio station is coming on air on christmas day and is called Thejazz. Sounds like it might be worth a listen.developed by the people that created classic fm so not just smooth stuff I hope. check internet for details as for fm I love it still have a really good fm tuner and outside aerial that when bbc radio 3 gives decent strength transmission is astonishingly good

I love eating lamb...the fluffier the better! However if you are not so experienced at it it can be hard. So my advice is buy a shoulder of lamb.Stick little holes in it with a knife (sharp) and insert slivers of garlic and rosemary leaves and then cook very slowly.....its to die for. If you cook that once you will never touch a turkey again. On the subject of turket....hate the stuff always have. I remember the pressure when I visited the US back in 2000 and 2001 over thanksgiving. The customs people asked me if I was here for thanksgiving and I (rather ignorantly) said nope ....just here to see my sister. They said whatabout all the turkey etc....I made it clear I hated turkey and I was sure the special forces agents were after me the welcome mat was removed and I was under surveillance the whole time...very un american I understood very quickly oops anyway ...get the lamb in...my favourite sunday dish...with roast veg...potatoes,carrots,parsnip,beetroot,shallots,garlic....all roasted together. sniff...in fact sat here in Lithuania on a visit I fell a little homesick now. We get a lot of pressure to have turkey here in the uk...I always go for beef if we cook so we get it the next visit to the outlaws...barf!

it will only encourage them!

How about a silent topic. One where no one posts anything. I could start it and the one who posts a reply first loses.

Not got the Tru Sounds Rhoda Scott material for those interested this is the record cover for Hey Hey Hey

Interesting--but have you ever partied to Andrew Hill?!

I must admit there are also ones that I get into and out of. For years I never ever dug my Coleman Blue Notes and yet realistically there are times now when I can get lost in the Stockholm/Golden Circle concert. It is the same with dare I say it the later Morgan stuff which I have got more and more into and then less dependent on his 50's material. However I feel that is a two way process as I have found as I move on I go off say Hanks later stuff and go back to his earliy stuff---you get the picture. The possible exceptions are the follow on albums from the big hits such as Sidewinder or New Perspective which although understandable ...never really had the capability of the original

My fav was always Doug Watkins Soulnik which I thought was really different and new. I did not know as ewll he had only just started playing it just before recording this LP

me too Had an old vinyl of Uptown and miss it

freddie roach; my phone Yes this is hopefully My People Soul People Got me all excited at first too Bummer! Some nice bits there too...Trudy Pitts too hmmmm....the loud 'kerching' of an underspent jazz budget hust chimed

but yes I agree he was a hero for me ....very diverse lps over a wide career. Not all smashes or huge hits...even his hits were panned by the jazz fraternity but some stonkin lps all the same. I still regularly entertained by both Electric Byrd AND Fancy Free AND Free Form As for whether I have overrated lps from this period- yeh plenty by a veriety I have not enjoyed or do not share others opinion. Big Deal I never did get abuzz from the Kenny Clarke thing nor did I really enjoy some of Jimmy Smiths LPs but thats no problem...still got em and maybe should sell em. Perhaps that is the part of my stamp collecting type of interest in the music. Would not be the first or last who hung onto to cds /lps for that reason. Maybe I should sell em- but I will probably not A

When he found out that he wasn't getting royalties for his hit album, "A new perspective", because he'd signed a cash contract with BN, he didn't bitch; he moved to Verve, MG

Hmmm! Well for me the Mosaic killer set that look well used and used well :0P are : Larry Young Andrew Hill Jackie Mclean Art Blakey Elvin Jones ( and I do not have the Tina Brooks any more nor the Herbie NIchols as I flogged em for the cd sets) As for the selects I have not got all of them but I did think the best by far was the Andrew Hill then John Patton Duke Pearson Grachan Moncur Paul Chambers But tomorrow that list may change....then again ......it may not!

For those who would like to know a little more about Linux I found this today which was rather interesting (not 100% wonderful but still very good at explaining the score with linux. I will stick the link and the text on for those who prefer the source http://polishlinux.org/gnu/five-things-to-...witch-to-linux/ Five things to know when you switch to Linux [ Sunday, 19 November 2006, ariadacapo ] If you have just installed GNU/Linux on your computer, and have only ever used Windows before, here are five things you need to know to get going rapidly. Author: Olivier Cleynen #1: App-searching is a pleasure, or: How to install and uninstall programs On Windows, you were probably used to find a given program on the Internet, download a setup.exe file, and then install the program in something like C:\Program Files. Things are very different on GNU/Linux. On most main distributions, finding, downloading, installing and uninstalling applications is done with one single add/remove program. Within this program, a wealth of useful, free and gratis software has been listed, sorted and described for you. You need only select/deselect the programs you wish to install/uninstall, and apply your changes. The download and set-up will be done automatically. You do not have to worry about where the program is installed. You do no have to worry about viruses, malware or “demo” programs (the application list has been constructed and checked carefully by your distribution’s programmers). This aspect of GNU/Linux is probably the most satisfying and enjoyable to newcomers. Don’t be afraid to try new things out and enjoy your time! Also on PolishLinux.org: a more advanced installation tutorial. #2: Be wary when going root, or: The command-line and the root user Whichever operation you are doing on your GNU/Linux computer, it can be done by typing code. Therefore, when you ask for advice, advanced users might reply with a series of coded commands for you to type in your computer, rather than long explanations on “where to click”. This method is called the command-line and code is entered through a small program called a terminal. You do not need to know how to type code for a normal use. On Windows, the main computer user is allowed to run any program and change any system parameter. In the Linux world, however, things are different. A normal user is allowed to perform normal actions, such as moving/writing files, launch normal applications, etc. Only the root user, however, is able to modify system configuration, update the system, and install programs. This restriction makes sure that any malicious program inadvertently run by a normal user, because it hasn’t got root privileges, may not cause much harm. When you attempt to do something only the root user can do, you will be prompted for the root password. Therefore, you should have a password set for the root user, even if it’s very simple: this will prevent yourself from inadvertently damaging your system. Whenever your computer prompts you for a password, be wary and make sure you know what you are doing. When using the command-line, getting root user privileges is done by typing sudo before the command (it means: super-user do and you will be prompted for a password). If you are asked to type a command starting with sudo and you are not sure what it means, ask in a forum (we suggest the beginner-friendly Nuxified.org). #3: Two (different) sides to a coin, or: GNOME and KDE You will quickly come across two frequently used names in the GNU/Linux world: GNOME and KDE. Windows only has one look and feel, however, the GNU/Linux world has many. In particular, GNOME and KDE are the most popular desktop environments. Under one desktop environment, you run the same computer, with the same Linux distribution, with the same files, as under another. What you alter is the graphical display: the way windows are managed and things are viewed. Most programs run equally well under KDE or GNOME. Some more specific applications –generally programs whose name starts with a K or G (such as KOffice or Gedit)– simply look better in their native environment. You might find that KDE favors graphical artifacts, configuration menus, customization possibilities, to enable impressive desktops. GNOME, on the other hand, might appear more frugal for it favors simpler, cleaner and easier (if maybe less advanced) menus and graphical configuration. In any case, both enable very sleek, attractive and/or productive desktops -only in different ways. GNU/Linux distributions often come with a default desktop environment (for example, Ubuntu with GNOME, and OpenSUSE with KDE), but you are able (and encouraged) to try a different one. There are also other desktop environments, perhaps most notably the less hardware-intensive Xfce. #4: You-may you-may-not, or: File permissions The file permissions determine who is able to access, move or modify each given file. The GNU/Linux system is very strict with these (there is no way to bypass or ignore them), and treats a folder the exact same way as a file. There are three types of actions on the file: read (self explanatory), write (the ability to change and move the file), and execute. The latter, execute, is a bit peculiar: * Setting a file as an executable means the system will try to run it as a program when you open it. This is potentially dangerous and you should never do this if you are unsure; * Setting a folder as executable simply means that programs will be able to access its contents (this is a default property). For example, your vacation photos folder will be executable, so that you may browse your photos with your favorite program. The file owner is the only user who can modify the permissions. He can set different permissions for himself (the “file owner“), defined groups of users (”user groups“), and all other users (”others“). In practice, all of your files (usually stored in /home/your_user_name/ ) will always have permissions set so that you may access and change them. You won’t be able to access other users’ files at all (they are usually stored in /home/someone_else/ ), and you won’t be able to change system files (files such as the ones in /bin/ or /dev/ ) without the root password. #5: Five more quick tips, or: Various additional details Some miscellaneous points that might be useful: * No defragmenting needed You may be used to regularly defragment your hard drive under Windows. Under GNU/Linux, however, the file systems in use are extremely resistant to fragmentation so that this is completely unnecessary. *Anti-viruses made redundant Because GNU/Linux is very secure, running an anti-virus is not necessary either (unless you deal with Windows files under an emulator, or pass them on to Windows users). Be careful when you go root, and keep your system up-to-date with the automatic security updates: you’ll stay safe. *Case-sensitive filenames Filenames under GNU/Linux are case-sensitive. This means that report.odt, Report.odt, and report.ODT will all be different files that can be in one given folder. This is inherent to the system and you cannot change it. *Hidden files start with a dot Files and folders whose name starting with a dot (like a .thumbnails folder) are hidden. There are usually many such files and folders in your home directory, containing your settings for the programs you use (do not erase or alter them). You can activate the viewing of the hidden files usually through the “view” menu of your file manager. * Accounting for hardware There are sometimes different software versions, according to different hardware. “Normal” computers are often named “i386″ or “x86″ computers; But there are sometimes “64-bit” versions for 64-bit-processor computers, and versions for Mac hardware (including the G5, G4, G3 series). Unless you have special hardware, you can simply run the “x86″ (or “i386″) version. Finally… This is by no means a complete tutorial to GNU/Linux, merely a quick list of information to get newcomers going rapidly. There is a great number of things you can learn to do with GNU/Linux, and the web is full of good places to guide you. You can start with the First steps section right here on PolishLinux.org, and then head off to the Nuxified.org forums where advanced users and beginners are all welcome. Enjoy the free software world! You’ll never want to go back.

Let's do a KDE versus Gnome flamewar sometime. Hey who you callin'? I have still to get fully to grips with the whole linux thing and had a few 'issues' ubt yeh ...I need a fix or programme that does something.....there you go tell me how I can improve it...all very different. One bug bear was getting my mp3 recognised- got it sorted because of a 'community sharing ' soft huggy approach...sorted! Would not have got that with windoze

used firefox for a few years now and I ain't going back. It is really good and a hell of a deal safer than Internet Explorer. Also used Thunderbird too for emails which was good too. I have also on the back of this got rid of Microsoft Office which was tired and have Open Office- free! and very very easy to use. I then went the whole hog and got so ticked off with microsoft that I showed Windows the door and now operate Linux- Kubuntu. Free operating system - very high quality and less crashy Goodbye Bill Gates and global domination and hello non corporate, more cooperative software that is FREE. As it damn well should be

Hmmmm. Let me see know. Author taken liberties, talking in sweeping generlizations. Nope No surprise there

Weird stuff is when you scroll this one up and down the stripes seem to grow and shrink....heavy man! Try it and see (the jackie mclean one)