JSngry

Saw this for a buck, and the attraction was seeing Pat (as in not Patrick) Williams in charge, wondering what kind of MOR/Jack Jones album Pat (as in not Patrick) Williams would make, and this is the answer - all kinds of material ranging from good to terrifyingly awful, some uncredited Jack Sheldon (or so it sounds), some pleasant quirk in some of the right places, and an album-closing version of "Old Man River" with background riffs that sound like they're ready to be used in some cues for upcoming episodes of The Bob Newhart Show. Curiosity satisfied for a buck, and now stuck with an image of Jack Sheldon leaving the Adam-12 set and heading over to play a Pat (as in not Patrick) Williams-led Jack Jones date and wondering what the hell kind of life all that was about?

King Creole Kissin' Cousins Kid Galahad

SXSW is all about "the industry", and has been for some time (from the beginning, really...the intent was "exposure", so hell, whre does that road lead except to the industry, assuming that real exposure is really what you want?). GaGa's today's Madonna, somebody who we all think is nothing more than just some pre-fab bullshit but who ends up resonating & then sticking around long enough and for whatever reason(s) to become an "icon", and therefore a useful tool for the industry, before she becomes either a has-been or an institution (she did a skit about that on SNL, and it was actually pretty...self-aware, I thought). That's what's up with that. Me. I'll take Madonna any day. She ended up making some good records. Haven't heard that out of GaGa yet. But then again, I'm an old guy, so my criteria are most assuredly not relevant to that or any other discussion they'll be having at SXSW.

Spectacularly off the radar at this point...no ticket info anywhere yet. But here's contact info for the venue: 2600 Live Oak St Dallas TX 75204 Phone: 214.671.0045 Fax: 214.670.0633

Norman Granz Gene Norman Jennie Ng

Patty Waters Ethel Waters Martin Milner

PM sent.

rostasi discovered this and we've been discussing it today. There's a very explicit extract from On The Corner that keep popping up throughout this, and at first I thought it was a case of Lalo Schifrin replicating the riff and having it played for his own sountrack sessions, but Rod is adamant that no, it's an actual sample from OTC that was put on a tape loop and then incorporated into the final ST segment. At first I was skeptical, seems like a lot of work for a TV soundtrack in 1975, but the more I listen, and the more he breaks it down into little samples and loops them so that specific, isolated comparisons are possible, Miles vs Lalo...I think I'm convinced, probably. Lalo was doing a Teo on Teo! So much for nobody paying attention to OTC until decades later!

If you want to "contrast and compare" early bebop tenor, listen to James Moody w/Dizzy's band. He's playing more purely from Bird than did Dexter. Here's Dex from 1943, purely a Prez guy, and you can hear how that part of him stayed for his entire life.

Ima Hogg Boss Hogg Bruce Springsteen

One Adame-12....clear?

John Collins William Forsythe Ming Dynasty

There were four Riversides, and three trumpet players on them: http://www.jazzdisco.org/johnny-hammond-smith/catalog/#riverside-rlp-442

Evil Twin Ed Wynn Spin Evans

Jello Biafra Hello Kitty Fellow Traveler

Clora Bryant Ray Anthony Barry Horn

Is that some fairly recent R&B tune? It sounds familiar? I dig the white shoes too, they serve a purpose.

Easton Corbin Jon Eaton Jon Eardley, Esq

Up one more time for this, the simple joy of endless perfection. I don't think there's one neuron in this woman's body that is not totally feeling this without reservation.

Ok, two engineers...possibly one for quartet, the other for overdubs?

Emanuel Ax George Frideric Handel Lester Maddox (may he rest in hell)

I've never seen Gerry Niewood with straight hair before!

Funny? You mean the piano? Seriously, that's some serious disconnect in what I assume was the booth during mixdown or something...I can tell you that if you start counting the first thing you hear on the tune as beat 2 of bar 12, even though it's totally lacking the turnaround that's in bar 12 in every other chorus, you'll come out even for the opening chorus, but that second one, and some of the ones thereafter, beats are left out all around, so it's got to be some faultyass splicing or something, because everybody is off equally (most of the time - there's some points where Leroy Vinnegar's line is off from everybody else's, but then BAM he's back on it, and it really does not sound either intentional or real-time. It's not like he's expanding the time and then contracting it, not that at all, if it was that, the logic would reveal itself, and this is just like now here's HERE and now here's over HERE and now he's back HERE again, and either Leroy Vinnegar was having a stroke while this was happening or else it's just not real. I tend to think that it's just not real). At times, it sounds like there's two different takes happening simultaneously on the same reel and they really really fucked up in combining them for the master, but in my head, I'm trying to figure out real math for how that would happen that badly and just can't do it, not like that. You would have to, like, pause your session reel & master in one place, and then restart the session reel in a different place w/o moving the master reel...then say OH SHIT I FUCKED UP and then fix it AFTER the fuckup, not in place of it. or something like that. But you figure if that is Jimmy playing piano behind his own organ solo, somebody was overdubbing something at some point (and maybe Leroy was playing with Jimmy on top of a quartet take and they failed to heed how and when they mixed them together...there's not piano all the way through, so that suggests...something less than a fully linear process right there), so I guess start there and work your way back into the possibilities. Or else just float, baby, FLOAT!!! That's what i think I'll do. But damn, Teddy Edwards & Ray Crawford STILL sound great.

Between 1973 (Capra Black) & 1995 (Somalia), Billy Harper did a lot of good records for a lot of different labels - none of them American (why that is...I don't know. I have suspicions, but that's all they are). It's one of the most easily-overlooked legacies in this music, really, because America, by and large, just didn't get presented with it (and till hasn't been). But it's there, still, on MPS, Denon, Baystate, Black Saint/Soul Note, Marge, PojJazz, and a little later, Steeplechase. Still going strong too, Billy Harper is. Long may he continue.

I've never seen that label before, but how is that not more or less Frank Lowe? Also interesting (such as it is) that Billy Harper had the inaugural releases for both Black Saint & Soul Note.