JSngry

To the best of my knowledge, Jean's solo career began on Philly International, and nothing there - or afterwards - was in the Black Jazz vein. I think she was on a Norman Connors Cobblestone side or two, but not as lead vocalist(?)...that one is a true mystery!

I've been checking out the late-70s stuff lately...the stuff I had no use for then, figuring in was all commercial, pop-R&B stuff...well, it is. And as such, not expecting it to be anything else but that, a lot of it pretty damn good. Surprise!

I'm gonna have to cautiously but strongly disagree with this... I think Griffin probably understood where Shepp was coming from very well...but given his superior level of virtuosity and Shepp's relatively limited "conventional technical facility" in the '60s (and I say this as somebody who is a big fan of that work), I think Griff's response to earlier Shepp would likely be filed under "I really dig what you're trying to do..." But in terms of the emotional thrust of Shepp, and the vocalized/hollering/screaming tenor techniques, yeah I think Griff got it just fine. He was no stranger to such things himself, so whatever "problems" he might have had w/Shepp were just technical, nothing more. And from that POV, he was correct. Shepp did not have anywhere nearly as thorough a command of changes & rudiments then as he would develop later on. It's a credit to the strength of his voice, vision, and character that he was able to take what he had and use it as powerfully as he did. And count me among those who prefer that earlier work. There are some exceptions, though...

Really??? More than Jesus??? More than the Dali Lama??? Even more than Mamie Van Doren??? Really! What could possibly be more interesting than hearing tales of Diane Linkletter's LSD experiences? It's not knowing about them that has made me the frustrated & untethered soul I am today.

Track 1 = Sounds like Doug/Jean Cam, but I've heard all four Carn Black Jazz sides, and this ain't on any of 'em... Track 2 = ???? Track 3 = The Freedom Sound" by the Jazz Crusaders!!! So, I don't think that Black Jazz Radio only play items from the Black Jazz label.

Same here.

Nobody I'd rather meet than people who dropped acid with Dianne Linkletter!

I don't remember exactly what Linkletter's story was at the time, but if all he actually claimed was that the death was LSD "related", then there is no conflict at all between what Allen is claiming and what the autopsy found. The "popular version" of the story was that she was tripping, thought she could fly, and found out the hard way that she couldn't. But if she committed suicide as the result of a "mental imbalance" brought about by the after-effects of LSD use, then everybody's right, nobody's wrong, and we can all stay on or off our meds as befits the indiivdual's expectaions/resultsPparadigmatic Realization Index.

The gerbil?

You know, you got Carol Kaye & Earl Palmer claiming to be James Jamerson & Benny Benjamin too...I know lots of things go on, credits are often "misapplied", sometimes/usually as part of the Hype Machine, but when it comes to Purdie & The Beatles, jeesuz cheryest, you got studio outtakes of Ringo laying down take after take...obviously real and just as obviously not overdubbed by anybody else afterwards...it's damn near impossible to take Purdie's claims seriosuly, at least in this particular case. Now whoat wouldn't surprise me is if Brian Epstein privately paid for a session like Purdie mentioned to have at the ready in case Capitol had any objections to using the "as is" records already out in the UK (and that's the biggest hole imaginable in Purdie's story right there - he talks being on records that were already released without him on them, and there's no difference whatsoever in the drumming between what was already out in the UK & what later came out in the US). When it came to be that Capitol was ok with the UK performances (if not the mixes and the sequencing/packaging), Epstein did...god knows what to wahtever tapes he might have had made with Purdie. But that's the only way to reconcile his story with reality. The things w/Tony Sheridan, that's real, the records exist in both forms, case closed. But this other stuff? Nope. And I love Bernard Purdie. But...

footnotes referenced in highlighted copy: 8 ^ Everett, Walter. The Beatles as musicians. Oxford University Press US/Google Notes to page 202-212. 9 ^ Gottfridsson, Hans Olof, Sheridon, Tony and Beatles. The Beatles from Cavern to Star-Club: The Illustrated Chronicle, Discography & Price Guide 1957-1962. Premium Publishing (1997). pp. 222, 310, 313, 333, 341. 10 ^ Miles, Barry and Badman, Keith. The Beatles Diary: The Beatles years. Omnibus Press (2001). pp. 129. Not to hijack, but those are still 3rd party claims. These are not autobiographies that are being referenced. That's like saying that anything I claim to be true IS true, as long as I place it in a book I've written. So are you saying that anything anybody says about themselves is automatically true?

It makes just as much sense, more, actually, to me that she wasn't tripping at the exact moment of her suicide but that Linkletter played it like she was in order to propel his anti-drug campaign (since her mental instability might well have been created/exacerbated by use of the drug) as it does that she actually was tripping at the time of the suicide & they paid a coroner to cover it up. Oh well, the guy was indeed a pretty hardcore Republican, but I dug his show anyway. He had show-biz skills and used them well. And no matter what, the guy let quite an interesting life before becoming Establishment-ized. Used to be you could be a honest "drifter" in America, see the country, learn some things, and not fall into the traps of homelessness, stigmatization, substance abuse, etc. Far less so today. I also think he was a sincere believer in self-initiative. Even if I didn't find his politics at all appealing, I can't disagree with that, nor did I ever find him espousing any of the repugnant vales of the right-wing. He just seemed to be a big believer in the old "pull yourself up by your own bootstraps" mentality & didn't seem to be too keen on anything that veered away from that even slightly. And truth be told, that's not a bad thing to instill in people in and of itself. There's not enough of it today, actually, that "take charge of my own destiny and not whine about it" mentality. It's not something I'd recommend as a diet unto itself, but as part of a Well-Balanced Mental Health Breakfast, I think it's a vital ingredient.

Here's the explanation about Purdie from Wikipedia: In 1961 he moved to New York and played session with Mickey and Sylvia and regularly visited the Turf Club on 50th and Broadway in New York, where musicians, agents and promoters met and touted for business. It was during this period that he played for the saxophonist Buddy Lucas, who nicknamed him Mississippi Bigfoot. Eventually Barney Richmond contracted him to play session work.[5]. In the same year original Beatles drummer Pete Best and guitarist Tony Sheridan recorded tracks in Hamburg with the Beatles. Later Bernard Purdie added drum overdubs to tracks from these sessions,[8] including "Ain't She Sweet", "Take Out Some Insurance on Me Baby" and "Sweet Georgia Brown".[9] The main reason for this was to give them a punchier sound for the US market. These tracks were eventually released on January 31, 1964 by Polydor.[10] Ringo Starr's physical approach to drumming was probably influenced by Purdie's Motown style.[11] Thos w/teh Purple Chick stuff will have heard these cuts in both forms.

Art Linkletter Interview- April 2009- Overcoming Challenging Times http://www.youtube.c...h?v=Lafued5Ow7c

Yes (swing it up it says) the camera! Barry Manilow swings, as do Ali McGraw's pelvic parts!

http://www.youtube.com/watch?v=drxihabHA0w

A perfect sentiment for a thread about heroin use!

Nice to see Arlene riding the Percy Dovetonsils vibe (or vice-versa).

Yes - Joe had a market and hit it well. Not sure that, in the late seventies, he wasn't at least in part aiming at the Soul Jazz crowd. Just think of the sleeves of those Houston Person, Groove Holmes, etc albums with sexy black ladies on them (see Sexiest album covers thread ) Oh, definitely. He was aiming for that crowd, holding on to them as they aged, instead of following the more "current" trends...you can find a few "funky" Muse albums w/"keyboards" and funk rhythms, but mostly their output in that realm seemed to be aimed at the same people who would buy Houston Person albums since there weren't going to be any new Gene Ammons ones...that's an exaggeration, but... all in all, though, that Muse label had a pretty impressive run in many ways.

Glad to hear that they might have sold that many back then!

otoh, Muse did ok saleswise in the 70s w/Richie Cole, Eddie Jefferson, Houston Person, Etta Jones (later in the decade, I know), Charles Earland (again, a little alter in the decade) + some others. Different times, though, and these records hit with "jazz audiences" than with "soul jazz audiences", most of whom had by then moved to the more "modern" sounds of Grover, Sanborn, etc. Which is just to say that Fields had a market for his product, aimed at it, and often enough hit it. It just wasn't a market that was going to produce Grover #s, and really, I don't know that Muse had the budget - or even the aesthetic inclination - to make Grover-type records. But when it was safe for organ jazz to come back in the water, they could be found on Muse. but yeah, it was a different crowd who was digging it by then. As for anything Don Schlitten-related, I don't know that that guy ever used Rudy more than occasionally, if at all.

It's a neighborhood bar that had organ groups as the live entertainment. As much a hangout as a "venue", if not moreso. Still a "jazz club", just a subset thereof (and actually a subset of a subset - the "black jazz club"), maybe the difference between entertaining in your den instead of you living room. You still gotta behave, but the vibe - and the guests (or vice-versa) - is significantly different.

Happy Birthday!

I'm on record as finding it worth investigative listening, some really interesting writing here as well as some pure, all of it well-played, and the best of it unthinkable as being material for the "civilian band". Particular interesting to me are "Pistol Packin' Mama", "Holiday For Strings", "Moon Dreams" and every (other) ballad vocal by Johnny Desmond, who might have been singing better at that point than Sinatra ever did until the 1950s. Can't say that I've ever heard anybody sing in this "style" any better than Desmond did with this band during this time. Having said all that, it's not music that will likely get anybody over their Miller-phbia and/or misoMilleria. But for anybody not so positioned...worth a listen, in some form or fashion, in some parts or anothers.

Son of Sam Son of Ice Bag Son of a Preacher Man