JSngry

I'm also of the opinion that anytime you come across anybody doing "The Barbara Song" you should carpe diem, because that thing can run deep.

Lee and Varitone was fun...for me anyway, apparently not so mu. J for him. But if you were ever in the "Lee is cool, but a little light" mind (and there are those...) then hey, problem solved with Varitone. And if you're not, then it's really fun to hear THAT sound make THAT kind of movement. Also, I do want to advocate for Kurt Weil in general. That stuff is...pointed And look where it can lesd *not that it needs to lead anywhere, judt that it vsn. Just remember that no matter what Mack The Knife has become, it I began life as one of the more sinister things out there. Mack was a freaking thug, man, not some rattypacky coolster.

I really thought I had some variant of the Milestone release in some form somewhere, but if I do, I can't find it. Seems important enough stuff to get the new copy linked to by Jeff above, so on the way. About Bix in general, I have a hard time hearing it "objectively", because my head has been so macro-programmed by so many 0other counter/parallel things that it usually takes a concerted effort to not hear him as an underpulsed, underblown intimidated Shy Guy. But I know that's wrong, I know the impact that he had and why he had it, and every so often, the programming gets shaken off and I can begin to really get it. Please note that I make not even the slightest claim of legitimacy for the reactions my programming create. My point is just that, even at that, the guy sounds different, obviously different, than what all else was going around here. Whatever qualities I project onto that based on my programming...that's on me to work on adjusting. But the obvious difference of quality he had, that's all his doing. That's why he mattered then, that's why he matters now, he did it. When somebody comes out that different...not everybody can do that, you know? Also, fwiw, my dad's family had a branch from Davenport...they in no way gave off a "jazz" vibe as I understood it, but finding out that my Dad's aunt had been widowed and then remarried a guy that was, like, 20 years her junior, and always, ALWAYS had a twinkle in her eye, that gives me pause again to reflect, because if what you know at first is all you always know, hey...it's a short road, the one that goes nowhere but back again.

Ok, found it with the help of my friends YouTube & patience. Ben. E. King again, songs for soulful lovers on atco. I really had NO idea, wow, might want to find that one too. Claus Ogerman possible arranger, ok, definitely post-Riddle, making sense now. That CD is dirt cheap on Amazon...does it come with any person ell details, like is that Joe Newman on trumpet?

http://www.urbandictionary.com/define.php?term=MFH A wonderful vehicle? Seriously? TMI!!!! Is My Foolish Heart going to be by somebody I've probably heard of, or somebody I'd have to be a cloud in the dark to find? Because too much past Brook Benson with that sound, I got nowhere to go.

I have local and cyber friends with big ears and deep tastes, and I knew I knew that voice from somewhete. So I sent them the files and asked who the he'll was this. I got an answer back in less than ten minutes. So no credit to me for anything other than having friends who know more than I do! Ok, Google the lyrics, find the song, then go from there. Koko Taylor, Blue Prelude. OK then. I mean, we all loved Koko Taylor, but she never scared me like Bigs Mamathornton & Maybelle often did. But this was powerful enough to point that way, thus the guesses.

OK. 14, if not Brook Benton...The feel of the strings is very Nelson Riddle-ish, theway they ease into the sound rather than attack it head on. So I wwould think Capitol records and...Ed Townsend just as a guess, but that does not return any results. More work to do on this one.

Oh yeah, you could hide Fatback Band, but there is no hiding George Adams!!!!

Taking no personal credit for this, but I got some homies...we have two Gene Mc Daniels performances on this BFT, correct? So I guess RosettaTharpe, then? Honestly, a little of her goes a long way for me, unlike my first two guesses. Gotta get that Gene McDaniels/Marty Paitch record, I had noooooo idea.

I told you, I don't remember like i used to....

Oh shit, I see what I've done. Not Big Maybelle, Big Mama Thornton. I stand by the rest of the post, except the songwriting part.

The 45 gives them both as songwriters, though.

10 is Big Maybelle, right? Those other people were the songwriters. Civilians just means paying customrrs. It's an old, old term.

Walt the Stalt Chambermaid Stalt The Malt Mutual Bill Stern The Colgate Shave Cream Man

Ok, some open time this evening and this is a buttload of tunes here, so let's see what we got here, with, of course, the usual thanks and disclaimers firmly in place... TRACK ONE - don't know the tune exactly, but it sounds like it's got something to do with bells or clock or something judged by the intro and outro. Not sure if it's a "pure" boogie pianist as the left hand seems more accurate than functional. You got all kinds of possibilities here, ranging from an America cabaret type to somebody like Frankie carle or Freddie slack to some "European" entertained, all kinds of options. It's nicely played and guaranteed to bring a smile. TRACK TWO - If this was a big band, it would be Maynard Ferguson, it's got that same kind of lack of pretension and simultaneous lack of depth, which is a charmingly winning combination, ok? Tenor player sounds like he/she has already played all those licks a gazillion times before, and this sounds to have been not that far into this type of thing, so, seasoned. A recurring "Move" reference. Red Prysock, maybe? Gator? Totally badass command of the instrument and the language. Totally show-biz to, but to paraphrase the song There Were Such Things. It would be corny if it weren't so real! TRACK THREE - geez, I know that voice...not Joe Carroll, or is it? Tight band, they've done this before. TRACK FOUR - Opening guitar sounds like Freddie Robinson, which would allow for something from the late WorldPacificJazz/Chisa Crusaders transitional era, but as it turns out, Bob Crewe, Ben E. King, and...yeah, ok. Does not sound like Freddie Robinson as it goes on, can't tell what happened by the end, I didn't get that far. Sorry. TRACK FIVE - I'd have preferred a vocal come in at some point, but that's just me. TRACK SIX - Nice, "Azure Te". That's pretty. If it was designed to be a hit, I hope it was. I love it when good stuff finds a market. TRACK SEVEN - NOT Happiness, NOT Joe. Let's get that straight up front. Easy enough to research, and glad to see that it's a singer I most always like, with All Time Pro All Purpose Baaaaad Man on tenor, composed by the Old Jazz Pimp himself. This disc is one to look for, I'm thinking. TRACK EIGHT - some French or Cole Porter song, geez, I am forgetting more and more things these days. Is that Jimmy Forrest? Might be Budd again. Whoever it is, strong Bechet influence, this is a tune Bechet played a lot, right, why can't I recall the title...If you're gonna call on Bechet like this, you best be up to the task, because Bechet...Bechet was a stong man, that cat LED. No pussyfooting with Bechet, and this cat gets that, none of that weepy vibrato sentimentality like the weaksters call on, no, this cat GETS it. I like how the drummer leaves no doubt that this WILL be straight four RIGHT there, nobody go anywhere else, we are where we are going do be, do it HERE. And the tenor player sets that from jump, so we got a syndicate here, no bullshit, no ambiguity, not that ambiguity is bad, it's not, but it's not RIGHT for this kind of an expression. This shit is RIGHT.Those cats are playing. Five stars, Leonard, five in the pocket goddamn stars. TRACK NINE - They too have done this before, maybe too often for the bari player's pleasure, but you never know. Sounds like everybody was getting paid well and that goes a long way. TRACK TEN - Gotta be Big Maybelle. If not, that's just scary, that there could be another Big Maybelle. Not bad, just scary. The world can hold only so much of that, and yes, that's the world's problem, not Big Maybelle's. The world tried to fit it into Janis Joplin, which just goes to show you - never trust the world to do god's work, the world will always fuck it up. Always. And doing the research,...Valerie Simpson, really!!!! and Jo Armstead, her I don't know as well...so what is this Port label: https://www.discogs.com/label/184524-Port-Records looking at the 45 label there, looks like names upon names upon names, meaning that's where the money went before Big Maybelle got her little bit of pocket change...she sounds kinda tore down here, but getting tore down didn't mean shit to Big Maybelle, that kind of thing lives until it dies and then lives forever. TRACK ELEVEN - "Old Country". Nat got paid, good for Nat. That almost sounds like Sammy Davis, Jr., which is not necessarily a bad thing. But almost is not does. That also almost sounds like either Bud Shank or Art Pepper on alto, but I don't know why it would be either. Would like to know who the engineer was, the drums are very soft but miked very well, excellent job. It's a familiar voice, known more for pop than jazz?, but again, I don't remember things like I used to. But I can see the body staging going on with every line, it's that kind of thing, presentational. TRACK TWELVE - Ok, I was thinking pretty standard fare, but then that piano behind the tenor started splitting the time into another place, and whoa..."Get Rich Quick", "R&B" and whoa! ANOTHER song by the Old Jazz Pimp himself! Apart from that...had not heard all of these sessions, definitely not this one, and it confirms my belief that this guy was a real badass singer, never mind all the hoopla and stagecraft, the dude had a gift vocally. "Miss Ann" kinds hinted at it, but you can here it here, before he knew what it would mean to sound like him, if you know what I mean. So, is that with Johnny Otis' band? TRACK THIRTEEN - That's just weird. Like, you keep your spirit up right until the day you die but you also be broke as hell and got no money but to play in the home with whatever they got there so ok kind of weird. That's not Lou Donaldson is it? God, I hope not. If these guys were worth recording, they were worth some better production than that. Or maybe the producer lived in the home with them and just had more bank. One never knows, do one? TRACK FOURTEEN - WHOA! Brook! Did not know this record. That was a guy who transcended his backing, always. Gotta be a Mercury album. Funny story, kinda/maybe. A while back, I inherited the records of my wife's aunt on her father's side. She was from West Virginia, married a guy from West Virginia, settled into a comfortable-ish West Virginia lifestyle, then they moved to Florida (pre-retirement) and lived out life there. They were not at all "musically sophisticated people", and their record collection reflected that, but damn did they have some Brook Benton records, Brook Benton & Lloyd Price (ABC stuff), for some reason those tow voices resonated with them. A record like this is a window into why, maybe. The beat is real, the layering cheesey as hell (Prima-shuffle un-Wild-ed) but not creepy, not at all, and on top of it all, Brook just wiggles all up and down and inside that shit, not oozing, mind you, not that liquid, but wiggling. I was surprised to see how many standards Brook Benton recorded, a lot of them, actually. But that's a weird splice in there, what happened? And if not Brook Benton, ok, never mind. TRACK FIFTEEN - "Among My Souvenirs", as they let you know. Funny how they're going for that Billie/Lester vibe, and they get the vibe, but the time is not the same, it dances but it doesn't float. No problem with that, it's a god rendition, just an observation, maybe that magic is magic because if everybody, or even many, could do it, it wouldn't be magic. AH! - It's A Lonesome Old Town, that's TRACK EIGHT, finally came to me. That's not French or Cole Porter, what was the guy's name, Ben Barney, Barnie, Barnacle Bill The Barney Fife & Drum Corps Principle's Office Space Program Notes To You (re:Abe Most), whoever the hell, like I said, I don't remember like I used to, I just follow the words wherever they go. Found it, Sam The Man, alright no wonder, hell yeah, that's how you do it, for real. That is now my favorite version of this song, at least for now. Kinda hard to top Sinatra's, but that's a whole other thing, and there is room at the top for anything that can make it there. And that one does. So, is that a Japanese band? Please tell me that it is, that would be perfect, either that or somebody who hired Sonny Greer. TRACK SIXTEEN - Not hard to research, all those Tangerine 45s out there, how many? Some are freaking spectacular, some merely excellent, all of them carrying the scent of a write-off, as did most things Tangerine, but, that's how the business used to run, and assuming that people got paid session fees, everybody, band, copyist, singers, etc, cash the check now, worry later. Archaeologists, have fun! I was halfway expecting this to be Dorothy Morrison (by the voice, not the gig), but who was Vernita Moss? TRACK SEVENTEEN - MORE REVERB THAN GOD! Wait, that IS God...at least the voice. That stuttering alto lick, that's a Jerome Richardson specialty. If this was done on Old Town, good luck on getting personnel lsitings, but the odds are good. I went on an Arthur Prysock bender at Dusty Groove a year or two ago and bought everything they had, everything. All at once, just paid however much and said send it here. Spent about a week reveling in it all, a few things maybe not really in there. but jeesus, so much of it was, DEEP in there. Songs sung so clearly you can understand every emotion, some of the best singing of these songs that ANYBODY'S done, you have my word, internet. So, hello god, y'all don't need that much reverb, but I get that you gotta sound good an AM radio. Mort Garson made some some funny moves from time to time, but when he got it right, whoa, just give the man a song, a tempo, and let god do the rest, god got it from there. And yeah, this one here IS the voice of god: https://www.discogs.com/Arthur-Prysock-Intimately-Yours/release/2002585 Anybody so inclined needs to get all of that one. And this one: https://www.discogs.com/Arthur-Prysock-Mister-Prysock/release/2534243 If Billy Eckstine finally got crushed by trying to go where he was never going to be welcome, Arthur Prysock knew where home was and enriched it deeply, lovingly, and beatutifully. TRACK EIGHTEEN - "Azure"...research shows Earl Grant, and who was in that band? I still have not really investigated Earl Grant, bad adolescent memories of EZListening Radio moments, but you keep pointing out things that are marvelously not that. TRACK NINETEEN - Had to do some digging, but...Gloria Lynne. Sweet. Billy, not T-Bone got paid, hopefully. TRACK TWENTY - Ok, George, what record was this? Fatback Band, ok. so this is what Perception did besides Johnny Hartman, Larence Of Newark, & Dizzy/Moody records, eh? Quite an ambitious label it seems. To be honest, without George, I don't think I'm in. But, George, so no choice but to be in. TRACK TWENTY-ONE - Oh hell yeah. I have this record, almost put this cut on one of my earliest BFTs, thanks for finally getting it in here. Red, and not Holloway, Red not white, but deep blue, Red, the brother of the god of track 17, between this guy and Rusty Bryant, imagine how many nights of THIS will never be known except to those who were there, which the more I think about it, might well have been the point/intent/etc. TRACK TWENTY-TWO - This is good, is there any historicals of note, or is it just good? Either way works the first time through. TRACK TWWNTY-THREEEEEEEEEEEEEEE - Jacquet? On both alto and tenor? Kinda sounds like Basie, kinda not. Not sure if they'd all play that way if there weren't civilians in the room. Up to a point, yeah, but not all this like that. Damn, dude, that's a lot of tunes, a lot of tracks, a lot of cuts, 23 skidoopopadashebamaklookamopmop, as they say. Most of it I liked, and a few things are finders (and then keepers). Nothing except the Ben E. King thing was less than at least somewhat pleasurable, and the aces were doubled down into spades AND plowshare, so lay down sally, let's eat the lamb. Onward!

Another notion that I find interesting is that of "loud colors", like in clothes or paint shades, not just bright, but LOUD, like, turn down that damn orange, will you, I can't hear myself watch. I used to think that all that upset was just stupid prejudicial narrowness, and still do think that that is usually in the mix somewhere. But consider also that both color and sound are literally vibrations, and that all of our beings function as a process of all sorts of vibrations. What if the Ellington sax section's pitch or Gene Ammons' tone are so impulsively repulsive to some people simply because their organisms are not able to accommodate those, literal, vibrations, that they shake them in ways they do not understand, and therefore feel threatened by?? I mean, I still don't trust people like that, because I don't have nearly enough time to figure all that shit out. But I do figure that the surest way to get trapped by your enemy is to fear them more than you understand them

Regarding pitch, the end of "My Way" would be a prime example. Some of those notes are very "out of tune", VERY. But only in one system, and only to a certain set of ears, But, you know, when you hang out with different peoples, really hang out informally, socially, non-prentational, you hear different nuances of speech, iflections, rhythm, accentuations, and, yes, pitch. So, if people who talk like Gene Ammons 0lays are not something you commonly hear, then, yes, the whole thing mind sound like some lesser refined jivetalk not particularly relevant to one's lifestyle except, you know we all have a black friend or two that we save our cooltalk for. And ok, there are people like that. But there are also people not like that.

Things I've heard from people who don'tlike Gene Ammons are that his pitch is irritating, that he doesn't articulate his phrases as much as he does blurt this out, and that he had no nuance in his playing, that it's always the same thing the same way. Those people are almost always non-African-American, but to be fair, I have met a few African-American jazz fans who have an aversion to "jukebox jazz". As with the whole Ellington sax section thing, I feel that musical affinity is probably just the veneer on what are probably much deeper-seated world's colliding stuff, residual tribalism and such. No man, that really happens.

Oh, that's just Side 1 Side two brings Lee Konitz and Tony Scott on and that'so when Yuletide spirits really start to rise.

These people in this time/place worked quite well. A few years later, probably not. But this, forward progess for all involved, cooperative forward progress.

Any leads to an illegal download, or maybe a popularly priced release?

I really dig how Barre Phillips/Daniel Humair vs Richard Davis/Joe Chambers is an archetypical Euro/US win--win dichotomy of the flavors this core music could take on.

Seems a bit, uh....urgent... but not in a harmful way. Woke me up in a big way, more than the coffee had been!