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Tennessee Tuxedo Don Adams Maxwell Smart

Dave Bargerone Chuck Mangione Andrell Muscotonne

Charnise Legdon Merryweather Diphole Flash Catharia

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All part of the flavor...didn't realize he had played with Donny...Leroy Hurson I don't yet know that I'm aware of, but damn...Donny Hathaway, that's some rare air to have been breathing right there.

Nah, the local critics back then pretended that The Recovery Room didn't exist (or maybe/probably they weren't pretending...I doubt they did know, or else figured it to be a junkie hangout with junkie jazz). But a few years after it folded & Marchel started playing "white"(er) clubs, all of a sudden every one of them motherfuckers had been there every damn night. Yeah, right. It's so much easier to write history than it is to live it...less time involved & the Dearly Departed don't get in the way.

The Pharaohs and 8 Bold Souls...now that's a life well-played. RIP.

Most likely, yeah. Pretty much lost everything of real value except my tenor, and that was because I was out sitting in w/Marchel @ the old Recovery Room.

That trumpet player on #4 hit me just right, at least last night. The rest was not at all unpleasant, but what I took away from that one was the trumpeter. Can't really say that I was "positive" about the music of #7, just that the musicianship was just so damn good (and apparent). "Pastiche" is too modest a word for waht it sounded like to me compositionally...like I said, I really don't know what it was trying to say, which is, I'm sure, my fault What I really dug was that #14. Yeah!

I'd be interested in knowing know what the surprises were, Thom...There's not much that I really automatically like or dislike in terms of "style". To me, it's all about the performance, the "voice", what is being said, the why &the how. I'd rather hear a great pop record than a mediocre jazz one, if you know what I mean. And sometimes (always?) it's just so damn subjective. Years can go by and all of a sudden what sounded great suddenly becomes depressing, and vice versa...so "first listen" reactions...are just that - first reactions, not final judgments (as if there really is such a thing!). But I think it's important to always keep hearing new things, even "unpleasant" things, becuase the worst thing that can happen is to let those reflexes take over and start listening to music like you think you hear it, like you think it is based on what you think it's supposed to be, rather than what it really is, which...I don't know how you prevent that altogether, but you gotta always confront yourself with other possibilities, I think, at least if you're a lazy fuck like I am...

Ted Joans Joan, who had tones for her bones Melba Liston, who had likewise

That would have been something to see...by all accounts Hawk refused to give up, playing for hours on end trying to wear the others out, to no avail. Talk about a gladiator... These were proud men with a strong sense of honor about their music. The J-Live rap is not at all out of place in that mentality, I think.

Actually, I do still have the cover. And a good friend provided me with a burn of the album a few years ago. Very nice indeed, and well worth the wait! Arichewy, if you find my copy, see if you can find my Mark VI alto too...that got lifted as well.

This is Terry Martin to the next level.

Well, actually it was. And I had my doors locked. Wasn't a good day, that one wasn't.

Too long to get to this...too damn long... Usual thanks and disclaimers firmly in place, here we go. TRACK ONE - No idea. I hear a lot of vocabulary, not too much dialect. The Dictionary All Stars, perhaps? Or the Clayton Brothers? Slick tune, California neo-slick, maybe, but just a bit too much "love me!" for my tastes. TRACK TWO - Sounds like they mean well, but there's not enough space in the playing to say what I think they want to mean to say, and what there is is rushed and kinda symmetrical. Yeah, the longer it goes, the less silence there is. I mean, the bass doesn't breath, he just goes on and on, and w/nothing else going on, that's a really....noisy thing to do. Just not a very...secure piece of music. TRACK THREE - That instrumental balance did not exist in the room where the music was being played. And again with the symmetry and the disregard for space. The time on this one and the one before does not sound particularly flowing to me. TRACK FOUR - This one is ok. A little more space in the time, if not respect for group density, although to be fair, that's ok on a thing like this bacause the density shifts come from the different pulses going on over the ti, but HEY what's this? Trumpet drums an bass trio? And the trumpet is realy flowing. HELL YEAH! That's a trumpet player! Yeah, this one gets better as it goes along, and for me is the firstcut to speak with confidence and maturity. Nice! TRACK FIVE - The drumming sounds like it's sampled (not a bad thing in my book) up until the end & the bass player covers some zones. I'd have loved to have heard a vocal or a rapper/poet/whatever get in there and mix it up, but this was a quite nice piecelet quite on its own. I get some good spirit out of this, thank you. TRACK SIX - Engaging, perhaps not compelling. But I like the relationship the tenor player has with their horn. It sounds deeply intimate and reciprocal. More than that...none of my business, the loves of others. Drummer guitar have a good relationship too. This must be a real band, eh? Always rewarding to hear a real band. Yeah, no bullshit here. Thank you. I don't think that this is "important music", but I do think that what is brought by this music - intimacy, natural relationships, confidence, calm command, knowing better than to force the flow and instead just flow the force, that is important, and you don't get that just everywhere, do ya' now? TRACK SEVEN - Don't have a clue what they were actually saying, a vignette representing the some kind of journey of a some kind of thing, perhaps, but they sure said it well! TRACK EIGHT - Why? TRACK NINE - Yes. And fine drumming too. TRACK TEN - Sounds like life to me. More yes. This is kinda like #7, only not all crushed up.Songs are being sung here. TRACK ELEVEN - I jave this record, I think. Pretty "of its time", but I liked those times, and geez, iirc ain't this a cover of a pop tune? TRACK TWELVE - Dewey? That tone...but not so much as it developed...no matter, enjoyable, quite, drumming is as it should be. TRACK THIRTEEN - Nooo... I'd like to have hear dwhat Gary McFarland would have done with this, but...little to late for that now... TRACK FOURTEEN - I'll take some of that! HELL YEAH! TRACK FIFTEEN - Well, that's how you do that. TRACK SIXTEEN - Self-explanatory. If not.. TRACK SEVENTEEN - Diatonic songs about flowers and mountains and love do not alone a righteous thing make. That's a dance you gotta tap just right. TRACK EIGHTEEN - So8unds like the cat on #10. There's some similarites to Shepp, and some electronics(?), and I think I like this one too, actually. It flows just right for me. Hey, I thank you for the sharing. Certainly interesting, it is!

Just trying to save you from yourself, but DAT's DAT!

Lamer still a response...you running your wit with Dolby these days?

Bullfrog Brown http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:0pfpxzraldhe No More Bullshit http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gxfrxzrgldke Smilin Liar http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:apfwxq9sldse

Here's some!

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Gerry Cooney The Ragin' Cajun MADD

Arrived today, booger free!