JSngry

Sure, Walter Benton, absolutely. And if Gerald contracted the band for Marty, that could well be him, just as it could also be Jimmy Woode or Anthony Ortega on alto...Gerald did a liberty date with Julie London, right, a few years before this one? That's the thing about album crews like this... Marty Patch might well have handled all the businrss, but just as easily might not have, It's the contractors who book the actual players for dates like these. My speculations about Wilson are entirely speculatice, just that...there's a touch of flavor in that band that would not make me think Marty Paich as first guess.

Sounds kind of "barefoot and pregnant"-y to me...at what point should people stop trying to be a part of the world around them? Stop accepting personal challenges? Fania certainly did develop an assembly line system, but no more so than any other label of any other kind of music that was having popular success and wanting more. And gems abounded, as did perfectly competent disposables. Too professional, what does that mean? Too much jazz, what's that equation? For anything? Also, the distinction between "Puerto Rican" & "Nuyorican" should not be taken lightly.

That's the kind of longer-form writing that justifies the effort needed to read it. Much more appropriate for delivery to a mailbox than a phone screen afaic, sucks that'so no longer viable. I'd keep stashed in the closet for decades-later re-reading, so much relevant information providing fuller context, sweet stuff.

Did he just retire at some point, stop writing? RIP, for sure.

Ok, had my friend who ID'ed the Gene Mc Daniels cuts send me the whole albun, trying to get an idea of who might be playing on SNC...that was no help at all, but listening to how the drummer brings the band in from the scat bit, that seems a very New Orleans triplet feel, so, time, place...Earl Palmer, maybe? And that tenor player...who in LA would have had that kind of Turrentine-ish articulation AND get booked on a Marty Patch date...I feel the silent hand of Gerald Wilson in here somehow, but that's neither of his usual suspects Land or Edwards, so....no personnel on the album, nor online, who's left alive who would know? This cut remains a tantalizing mystery, especially now that I've heard the whole album.

Onna the Amazon whitetrucks just dropped it off, LET'S spin the laser on it right now. Oh yeah, Billy's bringing it. Cookers hell, KEEPERS!

Courtney Hafela Productions.it The same person as the Cinematographer on Jazz On A Summer's Day, who was this person? Otherwise, the first real contemporaneous "documentary" footage I've seen of the American "Mambo craze" of the 1950s, and although I don't believe for one second the unrehearsed etc business, still..pretty vivid.

https://youtu.be/R50FurOD_64 But then he made a really ambitious solo album that was decidedly not dance oriented, more "concert" than "salsa" and although it got critical raves, I think it kind of tanked comercially (and it didn't help that Colon did not have a particularly "strong" singinging voice). So if Willie Colon has reservations about the term "Salsa", that is wholly understandable.

Iirc, Izzy Sanabria was the guy who really got the word "Salsa" going. Yes, msrkrting, but also a cultural signifier. Latin NY magazine was a focal point. If you remember what Hit Parade magazine was like when Don Paulsen was editor, it was kind of like that, equal parts fanzine, serious (enough) music writing, and market-targeted merchandising emporium. Whatever you want to think about marketing, that magazine and that word latched on big enough to where, by the mid 1970s you could buy Latin NY magazine at well-serviced Anglo new stands down here, read the record reviews, and then go look for the records at decidedly non-Anglo outlets. Also, iirc, Sanabria was hooked up with Fania, art director, cover designer, something like that. So he did have a vested interest in selling the music and the culture. Point just being that if "salsa" was meant to be a sales tool and a market broadener/expander, it worked.Cultural exporting, to be sure, but in my case, I found it to be quite enriching on a non-financial basis, and I know I'm not alone That's the plus. The flips ide is that it was very geo-specific, very much an NYC based thing, and mostly New York Puerto Rican at that (afaik, "Salsa" predates "Nuyorican"). And as Mike says "Latin" music involves multiple demographics and traditions. So, yes, "Salsa" created a focal point for pride and unification, but it was not going to hold up as a sustainable umbrella. Still, as with "funk" in Black Music, you knew what it meant, you knew it when you heard it, and that was either enough to get you going onward or else leave you left with one more fad to forget sooner or later As for Willie Colon, hey...bad man! he totally tricked out a lovely, touching, but "simple" pop song, klet Celia Cruz be Celia Cruz (as if he had and say in the matter!), and created a masterpiece, all without a dancing horse...

Georgia Anne is a world untobherself, really. One of the more consistently interesting voices of today, imo.I That last one is interesting from a counting standpoit, the drum loop is 15 beats, 7 then 8, The effect that has as everything else moves on top of it is strong

An Amazon email made this sale. Looking forward to it!

Chopped beats gets you to "hip hop", imo. Ymmv.

"Salsa" has come to meant a lot of things to a lot of different people over the years, marketing term, cultural identity, political signifier, all sorts of things. The Colon tracks, with or without vocals, definitely seem "salsa" to me in a general sense, as they are rooted in the Afro-Cuban street tradition and brought forward into an urbanized awareness, albeit infused with some elements from a later time. Elements which have been absorbed, not grafted, I would say. But "Salsa", in the 70s NYC/Fania/Latin Pride sense, no. this is all post-that. But here's the Bird record Neal Hefti & Norman Granz would have made with Machito, minus Bird,of course. Damn linear time gets in the way, always.

I remember when this particular record first came out. It was around the time when the Carter administration had loosed travel restrictions to Cuba. The biggest buzz of all was getting to hear Tata Guines again on a recording that had "legit" distribution in America. It had been a while (or so I was told by my friends who were hipping me to all this music). That guy RULED! It's a $300.00 CD at amazon now: https://www.amazon.com/Tipica-73-Cuba-Intercambio-Cultural/dp/B00004TWFS Tata Guines: https://en.wikipedia.org/wiki/Tata_G%C3%BCines Here's an interesting Amazon comment, especially if true:

Still some of the darnedest music I've ever heard.

That does not suck. Better watch it, one can get hooked on this stuff, and there's more than enoughto feed the habit.Not that that is a bad thing.

Please allow me to advocate for Georgia Ann & Shafiq.

Are there vocals?

The guy who said 'I never heard him on a full set', geez dude, get your ass to a record store, right? Did nobody know who he was, what he had done? Or was he just some drummer showing up to play in a street band, might as well have been Charlie Dennis, that kind of anonymity? I do remember when he started getting records out under his own name, I had a buddy who was a great player but not really "historically deep", if you know what I mean (and that's pretty common, actually) who got all gushy about Denis Charles and I said something along the lines of, oh, good to see him finally getting some profile, those records with Cecil & Lacy are awesome, etc. and this guy was, like, oh, he played with Cecil, when was this? So, we had a conversation about that.

Keeping up with Mr. Robot and some of the after-shows...the show fascinates me, particularly as it applies to the nuts and bolts of money, currency, finance. Also, the after-shows have helped me to better understand the tech/code/hacker element. Happy to get some insight into that, because it's not my world at all, that stuff. This season reminds me of a David Lynch type story, only based almost entirely in facts, things that are all either happening now or could happen any second now. Overlay that with the surrealistic personality fugues and mysterious "project" that appears to be about some kind of either time travel or dimension shifting, and...whoa. It's a lot to handle, but I love it when a TV show goes there. All you need for greatness is an ending that justifies all of it, really ties it all together, not something too easy or something that is obviously left open-ended so the writers can buy time to figure out what to do next. We know that there will be a Season 3, what I don't know is if that will be a good thing or not. Next Wednesday will tell, hopefully.

I had him on the turntable two weekends ago, Herbie Mann's Glory Of Love. I need to keep an eye out for his acting appearances.

Beat that, Roy Haynes.

Seems like it was just a year ago...

Is there at least one song that both Gene Ammons & Hank Williams covered? I'd like to hear a mashup...

Looks like they've yet to do a Gospel Artist-Specific set...the Caravans would be a monster place to start...until then, we have this: https://www.amazon.com/Best-Caravans/dp/B001PZ8IRQ/ref=sr_1_1?ie=UTF8&qid=1473872894&sr=8-1&keywords=caravans+gospel