JSngry

Frank E. Compton Peter Fenelon Collier Walter M. Jackson

No excuses needed for this one! Did not know this, but, sure, why not? http://en.wikipedia.org/wiki/To_Love_Somebody_%28song%29

Shoulda' thought about that before you recorded them...

Her?

Pitch is good. "Can't..." and all that is in C, "There Will Never..." in Eb. So believe your ears on this one. What's a trip is the Sonny/Max Graz trio thing...the pitch there is WAAAAAY hig...Sonny sounds like an alto, almost.

If anything could levitate government buildings, this music could.

That's a nice (and busy!) two weeks you got there! The band should really be hittin' towards the end. You guys tape all your shows? Bet there will be something special there.

Will try to post until the Ambien gets too strong, unlike last night, where the BFT turned into a stagecoach ride through the jungles of Old West California, or something like that...Palladin-esque, only psychedelic. TRACK ONE - Mercyx3 VERY cool, I dig it a lot, not really sure who it is though, don't really care, just glad to hear it. The drumming...yeah, that's how I like it.. FLASHLIGHT! MISTER MAGIC! DAMN that alto player bites into the pocket, almost like Maceo, maybe even harder. I'll tkae this for the life, Alex. TRACK TWO - Already mentioned...Cedar & Blue both did some of these things for RCA...proceed with caution, but don't be afraid on general principles, either. TRACK THREE - Lou & Jimmy, that's a classic sound. Prime musicianship. 'nuff said. TRACK FOUR - This is where last night got on the stagecoach... very nice, and definitley not misbehaving, alas. Doesn't even sound like a possibility. TRACK FIVE - Hank Crawford, don't know the tune, exactly...beautiful arrangement, and beautiful how Hank sets the horns up for them to set him right back up. Oh yeah, :Baby Won't You Please Come Home", that's it. the thing here is the total band sound, not just lead with background, they're all up inside each other's heads, working together, and it's beautiful how they do that. Anf that unison...sparse and dark, that builds up a a space for a chorus, a dark phantasmagoric delimiter, and then the sun starts to rise, the flowers to bloom, and here comes Hank Crawford, playing the new day into being. Can't just anybody do that, ya' know! TRACK SIX - What is this..."Because Of You"?..not Bostic, I don't think...Tab Smith maybe? Somebody copping Hodges, but not the tone, not all the way. Contrast this to the Hank Crawford cut, which has still-wet spots on the sheets at 3:30 AM ...this one is more like hanging out on the line the next morning - or being put on the be at 5:30 in the afternoon, in anticipation of Hank's scene TRACK SEVEN - Oh no...Green Ball Bearings...ain't an onion in sight, not even some ramps...not for me., thanks anyway. It sounds like the way men think women like for them to fuck. TRACK EIGHT - Been looking for this one for quite a while...KNTU used to play it every do often...McGriff, I think..."Moonlight Serenade" w/no bridge, which is too bad, because that bridge at this tempo would be pretty sweet. But ok anyway! http://sudo.3.pro.tok2.com/Quest/cards/J/JimmyMcGriff/MovinUpsideTheBlues_x.html Would've been sweeter still to have heard Vick on this one, eh? MASSIVEVANGELDERREVERB!!!! TRACK NINE - I'm having Ambien flashbacks from last night,,,only this time it's of Alfalpha singing after swallowing a saw, or something freaked up like that. Hard to hear that now with ears of its own time, I'd think. TRACK TEN - Speaking to me rhythmically very much, but the Night Train goes off the tracks pretty quickly. Good thing that the tracks keep moving along without it, although it doesn't seem to either notice or care, and it probably should. Sometimes you don't need to catch a train, and this is one of those times. Much better w/o it. TRACK ELEVEN - Fifes are many things to many peoples. To me, they're just goddamned fifes. Once they're gone, though, it's ok. There's an "orbiting" qulaity to the thythm relative to the melody relative to the timbres that I find very appealing. TRACK TWELVE - Odell Brown. Beautiful cut, in some ways more "Maiden Voyage"-ish in spirit than Herbie's? Hell yeah, god bless america for this. for real. TRACK THIRTEEN - Now that's a hard left...who's on banjo? sometimes it's like the band is riding the banjo on thoe upward, ripping bits....I find this as easy to laugh at as to appreciate, literally as easy to do one as the other. TRACK FOURTEEN - oh god, is this off that Lionel Hampton Brunswick side I've been threatening to order for years.? cause, i mean, i could get ALL up into all that in there, yeah! TRACK FIFTEEN - When you play this real, the rules make themselves. Bonus One - Sounds like...Roy Brown? The Root Man, eh? The Chango! Late 40s, I'd guess...how do you not like that, especially when the guys got a rootman to fuck you over with if you don't Bonus Two - Ruth & Red! Can't argue with any of that! Bonus Three - Had not heard Irene Reid until now....great, GREAT monologue...is all her work got this much vibe? What have i been missing? Bonus Four - happy rabbit trails? Thoroughly enjoyable, even more without Ambien overload!

Can only comment on the first part, but have no reason to doubt that both are nothing but true.

Teh more i think about it, the more I think that it's this guy that really broke up The Beatles.

no time to fully post but #2-Blue Mitchell w/Harold Land on RCA...very nice groove. More later.

Clem's back? I hope?

Ornette's not so much full of shit as he is one to try to describe the wheel without using referring to a circlle because everybody already knows that. Fine line, yeah, but Keith's always coming back to the preciousness of everything, which...it gets ripe quick. Still, the guy can make great music - and fey nonsense - often enough (as can Haden), so I think that any "snide" blanket dismissals of a duet album by the two before hearing it are at best ill-advised.

If a drum is a woman, then a tenor is that woman, the one that will eventually do anything you ask it to, the only thing asked in return being unqualified love and respect. After a life like that, she is anything but innocent. Find her a good home or risk the Karmatic Konsequences! (and, yeah, I'm laying it on just a little thick, but just a little...)

Lee Allen was a damn good player.

An innocent saxophone? God, I hope not!

A good Lee Allen solo or two is nothing to be disappointed about!

Lots of musicians are full of shit, even great ones. Keith's just not fool enough to try & cover it up.

And why is she crawling like she's got the polio but not the crutches? Uhhhh....

Same here for those who recognize Easter, and for those who don't, happy April 4th!

Ehhh .... Rudy Ray Moore's recording career started waaay back deep in the 50s. See here ... http://www.cdunivers...Gully+Fever.htm Yes, of course. I should have specified the type of recordings he began making... You got the same career trajectory with Clarence Reid/Blowfly.

Moss Hart Mose Allison Mosi Tatupu

Charlie Hunter seems like a pretty hip guy all the way around.