JSngry

There's two, both from 1962, both produced by Alan Douglas. Impressions Of Phaedra & A Taste Of Honey, released under Lloyd Mayers' name. Neither are "great", but both are interesting for different reason. The Phaedra album is Nelson's first with Phil Woods, the beginning of a long and mutually beneficial relationship. Woods carpe diems pretty well here, sounding pretty free and loose in his ideas and harmonies. It also has writing that is at times (often, actually) of a decidedly "non-jazz" nature which at times (maybe not as often) speaks to Nelson's interest in modern classical composition (and, at other times, his interest in writing the times of "exotic" music that movie producers would want on their soundtrack...note that this is not an actual soundtrack record, it's "impressions" of a movie, another "industry audition" record, perhaps?). Probably not gonna be of a lot of interest for "jazz fans", but for people who are interested in composing/arranging for the "jazz band" idiom, this one is of interest. Note also that Woods is the only woodwind on the record. The Mayers side is a simple, straightforward jazz organ with big band record, with radio-friendly-ish cut lengths. It might not have been an "industry audition" for the Jimmy Smith dates, but it is definitely a precursor. Mayers plays splendidly, and the arrangements are fine. Pretty sure that both would fit on a single CD, pretty surprised that nobody's done it yet, especially our Anderrtican friends. Most(?) of Douglas' UA work has seen several iterations, these two, apparently, none (oh, woops, Mayers can be had as amazon MP3: https://www.amazon.com/gp/product/B00F4MH2A0/ref=dm_ws_sp_ps_dp.) Both are better - and deserve better - than that!

Little Anthony Cleopatra's Asp Great Cesar's Ghost

Big Girls, Not Crying Johnny Ray, Crying All The Way To The Bank Julie London, Having A River Cried for Her

My dad had a long-time friendship with a co-worker who grew up in Coushatta with Adcock (or as they called him, "Joe Bill"). We had personal contact with Mr. Adcock, both at home (he raised horses and had a little horse farm in Coushatta) and at a game, maybe 3-4 times in my life, so I grew up thinking that I "knew" Joe Adcock, like that was a big deal. HA! The guy didn't know me or my day unless we were in the company of my dad's friend. My dad, to his credit, was not as phased by the contact as I was, although we did have an autographed ball by the 1957 (or 58, couldn't tell you which) Milwaukee Braves (no Aaron, but Matthews, Spann, Andy Pafko(!), and most of the rest of the team. I may of may not still have that ball. Now , back to: Joe Adcock Mad Men Little Women

Joe Adcock Mad Men Little Women

ee cummings Eek A. Mouse Ezekiel

Skip Drinkwater Flipper Ivan Tors

Ruth Bader Ginsberg Phil Roof Sheryl Lee Ralph

Bird is the word, still, or have I misheard?

Kenneth Mars Alfred Hershey Reggie Jackson

That's funny, given that the 1945 Caravan that Duke made for RCA is every bit as unconventional as this one!

Stuart Margolin Bix Beiderbecke Roger Craig

Tony Lama Nancy Sinatra Christopher Walken

Keep this handy for when the time comes, ok?

Frank Broyles The Arkansas Traveler going to the Little Rock Getaway Joe Sullivan

Know of it more than I actually know it, which in either case is inadequately, so thanks for the reminder!

Before Lenny Pickett took over the visible band leading on SNL, I am almost certain that the "SNL Sax" player was alex foster, and for a good number of jears. Remember Alex Foster? From DeJohnette?

That sounds right, where did you get that info? Anything linkable, for further study? I heard the tuba and was thinking maybe Gil, but Gil has been so well documented I figured nothing like this would have not been readily-known. Wonder what else Russell got recorded from this time, beside the Dizzy & DeFranco works?

Ok, this is what I mean, this is where Lenny was coming from in the TOP days, if you've heard any of those longer jams, you'll hear Maceo all through Lenny's stuff. Sanborn Is not coming from here, nor does Lenny's on SNL. Just saying, Maceo gets some love as a JB, but the dude had his own thing. This is not "the Maceo solo" if you know what I mean, this is just one example of his concept, and a rather distilled one at that.

Dave Peel Dave Pill Dave Pell

I heard somewhere that Hefner is going to be investigated? If so, good.

When Sanborn first started doing solos on pop records, I was struck by how much his sound and everything sounded like Stevie Wonder's earlier harmonica playing. Of course, you can hear Sanborn on those Paul Butterfield records and hear what he's up to there. There's another influence that is not generally discussed, Stevie's harmonica solos on all those hits. People were listening to those records, lots of people. How could they not contribute to the developing vocabulary? Same thing with Maceo, if you were into R&B at any level during those days, you heard/played James Brown, and if you were a sax player, your heard/played Maceo in some shape or form. The traditional narrative is fine as far as it goes, but it's not adequate to give a full picture. Influences continued to come along as the music continued to evolve. And let's not even ask about Robert McCullough...

These "waking dream" states, they happen. Gotta be some science behind it.

Advocating here for a consideration of how significant the Maceo rhythmic thing was. He didn't honk or scream or worry too many notes, what he DID do was come up with a way to play over Brown's fragmented beats that was organic to it and not just play straight line 4/4 R&B licks over it. To trace it back to Fathead, here's a good comparative sequence of his solos to follow. Funky Drummer from everywhere in the uni-damn-verse Spinning Wheel from Sex Machine That's My Desire from Soul On Top That's moving from hard funk to jazz-funk to straight jazz, and all the while the notion of fragmented phrasing is intact, although the funkier the background, the more obvious the fragmentation becomes, and the more germane to the group rhythm it becomes. Also, when you hear the more directly jazz things, the closer you get to Fathead, who was more hardcore eighth note jazz phrasing when playing straight-ahead, but who would have no problem playing all these little burst-phrases when it got more away from that. And similarly, the more Maceo gets into the funkier beats, the more you can hear a sort of deconstructed Fathead. Their interior dynamics of accents with those phrases share a lot as sell. This becomes another tributary to the stream, this notion of playing off of the beat rather than honking and moaning and squealing your way all the way over the top of it. And that's an element that I hear Lenny bring to his solos in the TOP days that I really don't hear him doing now on SNL, mainly because there's not reason or place where it would make sense.