JSngry

Axel Stordahl Walter Piston Sparkplug

This is the Jimmy Scott box:

City Woman Tennessee Ernie Ford A Person Who Has Chauffeured Two Tons Of Fun On Eight Occasions

Just talk to people, be natural. If you're enthusiastic about what you're playing, bring that. If you're serious, bring that. But just talk to them. You don't want to be like a variety show host, but the Miles thing, that worked because Miles pulled it off as a total persona, and besides, he was a true badass, so that was his way of talking to people, of telling them to pay attention. Most people are not true badasses. If you have some stories to tell about the songs or the people, tell them, again, don't be all "host-y" about it, just talk to people to let them know that you know they're there, that you like them being there, and you want them to have enjoy their time with your music. Introducing the band is always good, and not just at the end of a set. Basically, it's like anything else - give your audience what you would like to be given if you were in the audience hearing your type of music. I think that holds true for any music and any audience. What the "that" of that is will vary, but the principle is the same.

Exactly! It's a treat, has radio commercials and such along with the records.

Don't think that was his name, Calvin Johnson, but I got directed to some guy who lived on the outskirts of the outskirts, if you know what I mean, this guy looked and talked like a farmer, but he had a storage building/small barn in the back of his house that was literally wall to wall/floor to ceiling packed with jazz records. He was a big Herb Ellis fan and his collection steered very heavily in that direction. I was not, so we didn't do business, but my god, this guy had SO many damn records that I had never heard of on labels I had ONLY heard of, where you'd expect to find a tractor, there was a mountain of records, holy shit/WTF?/etc. Before there were American Pickers, there were American record collectors, who would do the same exact thing. Get a lead, show up, look, and see what developed. Hell, I used to show up at radio stations and ask to look through their library, all these Top 40 stations that had been on the air for a long time, they'd have stuff they didn't even want. The smaller the station, the better the luck, but just saying, records, you find them where THEY are, not where YOU are. Gotta keep that in mind, still. It's pretty much like fishing, really.

The only originals I've found in these parts are Opus de Bop, Midnight On Cloud 69, Surf Ride, & Telefunken Blues, the first two in an East Texas cutout bin in the early 70s, the last two in the late 70s at some music/record store in either Hurst or Euless, where the owner was this middle-aged hipster who talked about seeing Red Connors back in the day. That store had all kinds of shit on the racks... Everything else (if there is any...huh, don't know if there is...) has been found in collector environments. Oh yeah, Jazz For The Thinker, found that one in a South Dallas Goodwill, sweet find, record was in great shape, cover even better. You can/could much more readily find the Gospel catalog down here back in the day. Savoy had James Cleveland for a good while, and that stuff definitely had more of an audience than, say, Curtis Fuller. But those jazz LPs other than Bird...was Lubinsky really trying to get those out there past the Eastern seaboard-ish areas, maybe over to Chicago & Detroit, but, like, Albuquerque, huh? or even Miami? That all changed when they went full-Gospel though. No idea how they handled that, but audience widened, significantly. Remember the classified ad in DB where you could get a Savoy catalog for, like, a dime? I wonder if that's what they did, just wait on those dimes and then see what happened after that.

Phil Roof Dave Duncan Ken Suarez

Arthur Godfrey Fannie Brice People

Swing Kids (oh listen to the happy sounds of children at play!) The Kids In The Hall (coming back in at the sound of the bell) Class Clown (didn't work off his energy on the swings during recess)

Professor Longhair The Crew Cuts Madame de Pompadour

So, not this guy? Guess I'm equal parts relieved and disappointed, then.

Yeah, it's one helluva run, really. 1962 slows down a little in terms of quantity due to his expanding work elsewhere, but geez... Also, the Red Garland & Gene Ammons dates are in serious need of collated releases. The Ammons date in particular comes alive when heard at once in a way that it really doesn't when heard as parts of other records (three other records!), that was a very nice date. Gotta find those 45s...Faye Adams is not necessarily my favorite singers, but I'd like to hear how Oliver treats the bridge on "Goodnight My Love", that's a nifty part of an otherwise mundane song), and I do like me some Jimmy Grissom, actually.

Frank Luther?

John Mayer John Mayall John Mayberry

Here's the deal with that, or at least what I take it to be: http://www.organissimo.org/forum/index.php?/topic/79336-bad-link-to-malware/#comment-1498181

Ok, that does it, that's almost the entirety of Oliver Nelson's work on and for Prestige, it has been an enlightening and entertaining trip. I considered myself a pretty sharp Oliver Nelson fan going in, but this exploration has really broadened my appreciation, a lot more than I was expecting. The guy was gifted and prolific from jump, it appears, an original improvisational voice and a pen that never stopped flowing. Esmond Edwards gave him the opportunities, and as far as I can see, he carpe diemed with all of them. Results might have been uneven on occasion, but nothing flat out fails. And the successes soar. Also notable is the continuity of players from date to date. Personnel evolves over time, but it seems like there's always a continuity between this project and some others, a bit of musical networking no doubt, but also a real ongoing sense that this music is being played as intended in a deeper sense than just getting a satisfactory read-down and then a take, the "read and roll" approach. So let's look at the schedules that Oliver Nelson had working for Esmond Edwards and Prestige. The guy stayed busy. All information from http://dougpayne.com/on51-66.htm 1959 10/30 - Meet Oliver Nelson, debut album with Kenny Dorham 1960 3/22 - Taking Care Of Business 4/19 - Lem's Beat (Lem Winchester) 4/22 - Talk That Talk (Johnny Hammond Smith), 3 cuts 5/27 - Screamin' The Blues 8/23 - Nocturne 9/09 - Soul Battle 9/16 - Hollar! (Etta Jones) - 3(? I only really hear 2) cuts + Something Nice (1 cut) 9/20 - Trane Whistle (Lockjaw) 1961 3/01 - Straight Ahead 3/16 - session with Red Garland, split over two albums 6/09 - First session for Etta Jones' So Warm 6/13 - session with Gene Ammons, split over three albums 6/21 - These Blues (Clea Bradford) 7/25 & 7/28 - remaining sessions for So Warm 8/22 - Blue Seven (Shirley Scott) 8/25 - Main Stem 9/29 & 10/10 - African-American Sketches 12/08 - sessions for It's the Blues, Man (Eddie Kirkland) 1962 2/08 & 2/09 - From the Heart (Etta Jones) 3/09 - second session for for It's the Blues, Man 3/22 - Southern Comfort (Frank Wess) 3/11 & 3/15 - Clark Terry Plays The JAzz Version Of All-American 6/01 - session for Soul Street (Jimmy Forrest), 3 cuts and finally, two 45 sessions which I have yet to hear (anybody who has these, let's talk): Faye Adams New York City: June 26, 1962 Faye Adams (vcl) with orchestra dir. by Oliver Nelson. a. (3545) Goodnight My Love b. (3546) You Can Trust In Me c. (3547) Come On To Me d. (3548) Blue Raindrops Issues: a & b on Prestige 45-224 [45]. Jimmy Grissom New York City: July 3, 1962 Jimmy Grissom (vcl) with Oliver Nelson (as, ts, prob. arr, prob. cond); Dick Hyman (org); Hank Jones (p); Wendell Marshall (b); Ed Shaughnessy (d). a. (3549) I've Got You On My Mind b. (3550) Lover's Reverie c. (3551) Love Has A Thousand Eyes d. (3552) Get Yourself Another Fool Issues: a & b on Prestige 45-225 [45]. Nelson continued to work with Edwards on Argo, and of course, Creed Taylor & Bob Thiele came along. But this run of one artist, one producer, multi-faceted output (leader, sideman, arranger, composer), Duke Pearson at Blue Note comes to mind as an immediate comparison, but who else, to this extent? Anyway, it's been more than a little fun. Now to make shelf space...

http://www.jazzinhollywood.com/mission.html This link from 2007 is getting blocked from my work PC. The root site, now leads to an alleged chiropractic clinic in Spring, TX. Clearly the domain name expired and as often happens got picked up by god know who. That "/mission" addition to the link seems to be what's triggering all the warnings. The thread itself is still cool, and all the other links in it seem to be active and appropriate.

Glad to be wrong about BC2!

Glad to hear it went well. Playing with a bad singer is hell, but playing with a good one can be, if not always heaven, a peek inside it. And occasionally you get to go all the way in. Onward!

http://www.metrotimes.com/detroit/musician-interrupted/Content?oid=2176369

Black California 1 made it to cd, not sure if fully complete? BC 2 never did, though.

Nipper Flipper Jack The Ripper