JSngry

I don't think I'm the target audience for this, although "peace, love, and fishing" is definitely a concept I can get behind with my thoughts.

Yeah, I get that, and htat's why I took my time on looking at them. Now that most everybody involved is dead, though, I find some of them to sound pretty good. The Hines & Doggett things are both expoobident, and the Mingus is, at the least, a valuable document for both playing and writing (if you're into that document thing) outside the lines of Atlantic oversight. The Dexter, eh, it doesn't suck, but it's certainly not a collection-starter, if you know what I mean. One good thing about a lot of them, though - look closely and you'll see George Duvivier all over the place. From what I've heard of the series, he's usually direct-miked (and get over, old folks, they're not going to remake those records, what's done is done), but whereas that techniques only amplifies (no pun intended) the micro-imperfections of most bassists, Duvivier comes through as impeccable. And you know he's got that groove. And Hamp, Hamps gonna swing, always. I'm definitely looking at picking up the ones I don't have if/when they come along a a pleasant price. Collection-deepeners!

Indeed it does not! Now I'm sort of interested. If they're looking to push my button, this will start the button to be pushed, for sure: But The Source isn’t a jazz album, per se: Allen’s drums don’t typically swing so much as jitter and jiggle, with boundless syncopated rhythms that sound like a giant squid menacing a drum kit. Nor is it an Afrobeat album, with Allen’s band comprised largely of Parisian jazz musicians plus Cameroonian guitarist Indy Dibongue; Damon Albarn makes a low-key contribution to “Cool Cats.” Rather, this is an album that straddles jazz and Afrobeat in an elegant push-and-pull that sometimes edges closer to the former, sometimes wanders closer to the latter, and often sits joyfully in the middle. Giant squid...not so much, but straddling push-pull, yeah, ok.

So, is he playing hardbopblakeystyle on thee, or is he playing some variant of how he played with Fela? I have very much enjoyed his records with Jimi Tenor, and, obviously, Fela. Just not sure how big of a hurry I am in to hear him do any retro-hard-bop. Hoping for something other than that?

BOOM!

Not all (or many) are "essential, but I've not heard any that were not pretty good. And some, like the Hines & Doggett, are better than that. Plus, I think there might have been some spare takes on some sessions that were juggled around on the CD iterations (of which for some items there have been many). They all kinda showed up at once, and between Hamp's "low budget" rep of the time and the notion that how the fuck is he getting Mingus & Dexter and people with contracts to make these records on the legit, I kinda blew them off until curiosity get the better of me and I bit on the Mingus. Definitely not "high budget production" but the playing on all of them is for real. So yeah, a "round-em-up" legit package from somebody would be nice. I'm sure there's a few or more stories to be told.... Am I missing any? Check it out: And ok, Rhodes. Big fucking deal. This is Lionel Hampton, who most assiduously did not give a fuck about trivial shit like that. And hello, Bubba Brooks! Shit be swingin', verb not noun... Alto Saxophone – Charles Williams (15), Norris Turney Art Direction – Cyd Kilbey Artwork By [Artist] – Fred Hinck Bass – Larry Troit Co-producer – Bill Titone, John Cevetello Coordinator – Rocco Dellarso Drums – Howard Overton Drums [Conga] – Sam Turner (2) Edited By [Editor] – Marjorie Randell Executive-Producer – Robert W. Schachner Guitar – Larry Luger Liner Notes – Nat Hentoff Mastered By – Nimitr Sarikananda Organ, Piano – Bill Doggett Other [Biographer] – Jonathan Greenberg Producer – Lionel Hampton Tenor Saxophone – David Brooks* Vibraphone – Lionel Hampton

This was part of a whole series of albums Hamp did, Mingus was just one. All of them I've heard have been very good or better!

Maybe not just because Japan is a lot more expensive nut to crack, but also because, hey, look at them, they're totally up front about "we (that means both of you, not just them) shouldn't be doing this, but oh well, we're both doing it anyway! HUZZAH!!!!". No tricks, no gimmicks, no demeaning presumptions of a facade, just honesty. Kudos to people with the character to neither seek nor provide weak-ass justificational rationalizations! It's like when you used to go into the record stores and buy prom copies of shit that was clearly marked PROMOTIONAL USE ONLY - NOT FOR SALE and yet, there it was for sale, and not just for sale, but now, SOLD! Gee!

w/Ronald Muldrow, Tootie Heath & Louie Spears. The more of thee later live things leak out, the more apparent it becomes that Eddie Harris always had, not just a gear or a tank in reserve, he had, like a whole other universe in reserve. Sometimes he reminds me of Wayne Shorter, only out of Popular Mechanics instead of Amazing Stories.

I'd like for the Rangers to have one.

Blue Bogey is like a Hank Mobley record if Hank Mobley not been American. That core "thing" is the same, just the accent and dialect is totally different.

Well, now, here might come some criminal charge3s: http://www.cnn.com/2017/11/03/entertainment/paz-de-la-huerta-weinstein/index.html

Let me go all soulpope on you and or even

Yeah, well, if "average" people of any age listened to music of any era of Weather Report or anything like all of its it....but they don't/. Even when the band was popular, "average" people really didn't pay any attention to them. So, yeah, "average teenager", definitely a thing, but not at all germane to this topic.

Hmmm....Blue was definitely in Bellson's big band at some point after he moved to L.A., not sure about Junior, but if this is from that period, wouldn't Toshikio have already been married to Lew Tabackin, or at least non-Mariano-ized? See how these line up: https://www.discogs.com/Louis-Bellson-His-Band-Gene-Krupa-Louis-Bellson-Big-Band-Jazz-From-The-Summit-The-Mighty-Two/release/9418989 https://www.discogs.com/Louis-Bellson-Gene-Krupa-The-Mighty-Two/release/3055995 And I'll be damned, here we are, Jack Lohnshein cover and all! https://www.discogs.com/Buddy-Rich-Louis-Bellson-Are-You-Ready-For-This/release/7706666 Recorded in Tokyo, perhaps, in 1961, when Horace was in town? So, never mind!

And back again with a big strong HELL YEAH. Cuh-RRAZEEEE!

There's at least one in every town!

Average for where?

Either that or Milford Graves!

Grandparents. That Berlin thing, it was issued on MPS, was it not?