Holy Ghost

Not to combine talks, but 70's Mingus only makes sense if we rehearse earlier Mingus, which is essential, in my view: now hear me out; if you understand 70's Mingus understand it for two reasons, hell yeah and two, helllll yeah. But go back to the basics, start with where Mingus came from, its an amazing journey: from Parker, to Jackie, to Dolphy and Booker and Kirk...and most of all Duke, incredible!

Reminds me how sick KIrk is. That dude was in his own town. Another talk another time; here, Mingus is ridiculous, even at this stage. But back on task, Seventies Mingus , in my opinion, was good right up to the end, and all of those records are worth hearing; Atlantic, I don't know how they thought giving either Zep or Mingus stage front, because things were not making sense then: rock or jazz (rock), but Mingus recorded for them up to 77... (Zepp's "Best of" album, "The Song Remains the Same" kept the juggernaut full speed until John Bonham straitened his shit out ( which was short-lived) was affordable or (cash money)) was a good run for Atlantic, but after IV, Presence, what did Atlantic have to offer? Just thinking out loud.

Yup, the Savoy is dope.

See all this as pertinent points why I have issues: movie + Jim Morrison/Hendrix catastrophe speak/watching, makes for interesting viewing. I don't think its fair, cuz Chet's life was tough enough to read about, let alone watch, and I'm in the camp that Chet was truly an original genius and painful to read/see/watch how he died (not to unlike Parker) so the movie didn't strike me as genuine, nor Mile's (another discussion obviously not here to be discussed) but yeah, in a way, its cool Chet is even discussed, portrayed on film even, but it doesn't do him any service how great he really was/is.

WANTA HEAR. Yeah, in both cases; what great Lee and Wayne came our way.

Brad, not at all. You're fine. I guess I'm asking for it, hoping that there's another Lee or Hank or a Jackie hidden date somewhere. The Conny series gave this kind of hope that there's more and what a great unheard series that was,I guess I got more hopeful, hoping there was more, and occasionally there is.

Brad, You're right, I shouldn't have presumed "everyone" wants to hear what's still in the vaults, I'll rephrase it: "I" want to hear everything that's still in the vaults.

Dam. His work with Cecil still sticks with me, can still here him playing in my head.

Yup. And I'm a Mobley nut for many reasons but this record signifies why Hanks' the best: this right here.

Paul Bley is sick. From ESP to ECM, I've never grown tired of him.

Yeah, Ethan Hawke is cute and all, but this movie (like Miles') has too many issues. One, did Chet have a black girlfriend? Not that I care, but facts are facts. Two, the story actually if they followed Chet's real story, would've been far more interesting, like Art's or Gerry's, come on now!

At this point, ANYTHING, that gets released from the "vaults" is worth hearing, cuz we want to hear it.

In my opinion, I have the record, but its not my go-to Mingus by any stretch; recommend the Candid's, Bethlehem's, Early Atlantic's, Impulses' ,the Columbia's. Guess is, why start to turn on your friend to Mingus with this record? And I don't want to say that 70's Mingus is not worth hearing; some of my favs are tucked in there like the Changes albums, but start your friend on the route to the classics; don't drop him off and think he'll figure it out, if you get my drift.

I think I only heard one chirp for the excellent Expectations; make it two: get it if you don't have it already.

MG, On the contrary, I see Jackie's name anywhere on a BN record, whether as a sideman or his own, generates a level of excitement, meaning that he's there, get the record. Hard to explain I guess, but ordinary records by other leaders with Jackie Mac lifted to good, great, sometimes extraordinary records, if that makes sense. He carries that aura about him that gets things exciting anywhere in the BN era, for me at least, On the other hand, yes, he can dominate a leader date that's not his own and make it his date, and I don't think that's what his intentions were, for example Jack Wilson's Easterly Winds, in effect was a JMac record ( my opinion, of course). Addendum: Those "ordinary" records are usually pretty sharp anyways, I buy them because I like them with or without JMac, so I didn't mean to imply that they're shabby because JMac isn't there; however, Jackie sometimes makes those records even appear more exciting just by seeing his name on the jacket; he always brought something to the table that made things more intense, uneasy, unpredictable: Leeway for example, a good record, but Jackie made it a must have Lee date for me, not because of Lee (who I adore) but the edginess that Jackie delivers; or even in organ combos, like Open House/Plain Talk (which which turned me on to J Smith) can exemplify his dominance on a situation. Free, straight ahead, in between all that, he was the go-to guy.

Agree With Chewy Exception, at least when I saw his name as leader or sideman, Jackie. Otherwise, and if any of these other great musicians have already been mentioned... Victor Sproles Ronnie Mathews Sonny Greenwich George Benson Melvin Sparks Charles Tollivor Lamont Jackson Karl Berger Scott Holt Hugh Walker Harold Alexander Marvin Cabell...