JSngry

Oh yeah, the did the ESP boots as well...

Search for the given address of Base Records: http://maps.google.com/maps?hl=en&clie...le&resnum=1 Definitely in Italy, but I see that other Unitedledis releses defintley have a French origin. so...who is was Base Records?

The notes that I took when I dubbed the LP to cassette waaay back when (yes, I have note cards for all the dubs I made back in the day. Geekus Fatalis, eh?) give the label as Uniteledis Base, the studio as "Studio Arsonor" & the engineer as J.P. Turola. The only label address give was for Base Records 40136 Via Castiglione, 109 Phone # = 051/237528 Doesn't sound French to me, but Uniteledis does...so maybe this was a joint Italio-Franco venture? There's also a statement that "This music is dedicated to the memory of Fred Hampton, Jonathan and George Jackson". so you got a Panther vibe going, and the Panthers were "revolutionaries", and most all "revolutionaries" of the time would quote at least some Mao at least some of the time. But what I've always wondered is, what color bathing suit did the little fella have on. Or was he actually skiiny-dipping? Recording date, btw, is given as 9/76, three full years before The Long March.

But anyway....the George Jones CD is a good one. I bought Herbie from Starbucks, and now George Jones from Cracker Barrell. What's next, Amy Winehouse at Rexall?

The Cracker Barrel in Asheville, North Carolina need to visit the Cracker Barrel in Lindale, Texas, then. I'm quite cognizant of what can happen when you target your product to older, white Southerners, so my natural proclivity towards "people-watching" gets kicked up a notch or two when visiting a Cracker Barrel. And East Texas is...well....East Texas. Wall decorations, I didn't notice except for one that advertised a product I'd never heard of, with a painting of a man who looked like the guy on the Monopoly game. But I am pleased to report that the staff and clientele alike in Lindale skewed younger and more ethnically diverse than the Southeastern CBs I've had occasion to visit, and the vibe was, if not exactly "cool", reflective of the very probable truth that if you wanted a good meal in Lindale, this was about the only place to go. Locals and wanderers off the Interstate seemed to be present in equal proportion. I say "seemed" because you can never tell just by looking, but there are certain East Texas, uh, "characteristics" that are pretty hard to miss if you're from the area. Our hostess was young, Hispanic, and spoke with an accent. Our server was older, white, and spoke with a different type of accent - East Texan. Seated across from us were an African-American family, Grandma in tow, and behind us was a Hispanic family whose English was very...unformed. Their server was the same as ours, and I was curious if there was going to be an attitude on display because, well, sometimes it happens. But this time it didn't. The lady was very sweet and helpful to all of us. We all ordered at roughly the same time and we all got our food at the same time. If there was any prejudice in anybody, it was not in display there, where and when business was being conducted. Now, far be it from me to parade Lindale, Texas as a paragon of racial tolerance. Far from it. But it's a town that over the last 10-15 years has had a bunch of businesses spring up around and off of it's lone Interstate Highway exit, and I'm willing to bet that, since I-20 runs between Dallas & the casinos/racetracks in Shreveport-Bossier (Louisiana), that enough people to matter have come to the conclusion that money is all green, regardless of the color of the hand that gives it to you, and that you can find good people and assholes alike no matter where you look - or who comes into your place of business. Maybe Asheville, North Carolina has not been so fortunate.

Chopped. Winner Diane DiMeo withstands reruns.

It was an Italian label run by some Communists (as I understand it). Archie & Max were some pretty radical talkers. I'm sure that, as with many of us who were caught up in the fervor of "the struggle" at the time, there were some aspects of Communism/Maoism/Marxism/etcism that sure sounded good relative to what we wanted in our world (and some that didn't), but basically, truth be told, I think the bpttp, line is that it was a label run by Italian Communists who offered them some good enough bread to do the date, so they took it. Bottom line, thoguh - this is one of those "special" recordings for both players. As good as The Long March is, this one is....special.

Had occasion to be at the Cracker Barrel in Lindale, Tx. today, and bought the damn thing, just to feel the flow. Asked the cashier if they'd been selling lots of them and she answered in the enthusiastic affirmative. Cracker Barrel, like Starbucks, has a "music selection" and the George Jones bins were significantly less full than any of the others. Tell you what - if you you're like me and have some kind of an "interest" in country music and don't really "like" enough to get too far into it, but feel like you want/need a nice little dose of George Jones just becuase he is such a baaaaaaad mouffaphukker (and he is), then this ain't bad. Plus, the two unreleased (really ?????) songs, “I Don’t Want To Know,” and “I’m A Long Gone Daddy” are at least as good as the previously released stuff. It's like I told LTB (who grew up in Boomer, WV hearing this type stuff all the time), with material like this (anything really, but especially plain-spoke lyrics like this), the difference between garbage and profundity is interpretation, of singing it, not just like you mean it, but like you know it and understand it. I mean, "I love you" can mean any damn thing, right? It's all in how you say it. Similarly, "Darling, can you keep a secret? I sure hope so" (from "I Don't Want To Know") when sung as a question to a lover one feels is being unfaithful is either gonna crack you up in laughter or hit you right in the gut. With me, it was the latter. This guy is good. 12 songs, all the big hits (that I can think of), about a solid "Best Of..." LP's worth of music for $11.99. I am sastified with my purchase.

People who haven't had uncles like that just aren't prepared for real life.

DO NOT MISS THAT HAT!!!! However, do be aware of this one, which is even better, imo: Don't think it's seen CD release yet, but can't confirm that. The internet is your friend here if it hasn't, or if you can't find the 2LP vinyl.

Yes, Dr. Death was the producer...snd you're reading my mind about what we might someday hope to get...

yes.

Yeah, it was that story that inspired me to click on this YouTube link when I saw it. I see what you mean!

The Freda Payne side was a very pleasant surprise to me! But what's this? No Beverly Jenkins? No Alarums and Excursions by Michael Brown? No Morality by Oscar Brand? Maybe next time...or not.

Barry Ries is a baaaad man!

Great tune! Not written by Horace (but by Weldon Irvine) but it might as well have been.

Not at all true: http://www.naxosdirect.com/HORACE-SILVER-Q...C/title/107039/ # Adjustment (NTSC) - 08:11 (from Silver 'n Brass) # Barbara (NTSC) - 12:57 (ditto) # In Pursuit of the 27th Man (NTSC) - 15:48 # Song for my Father (NTSC) - 12:58 Tom Harrell Trumpet Bob Berg Sax (Tenor) Horace Silver Piano Steve Beskrone Bass Eddie Gladden Drums No idea who Steve Beskrone is, but hey - Eddie Gladden!!!!

In order of release: Brass, Wood, Voices, Percussion, & Strings. Just checked & "The Great American Indian Uprising" was the title of the suite on Side Two of Percussion. The individaul titles were "The Idols Of The Incas", :The Aztec Sun God", & "The Mohican & The Great Spirit". Just listened to the first side of Voices, and it sounds like there's raw quintet tracks to be had by stripping away the overdubbed voices. Hmmmm....

Seems to be a theme developing here....great tunes, great live perfomrances of them...kind of "ehh..." on the albums....what are the odds that Horace has a stockpile of live tapes from the 70s? Wasn't that "Indians" tune on the "Percussion" album? Side Two was an "Aztec Suite" or something like that...

Uh...there is no post-Abbey Road, unless you count the "fixing" session for Let It Be...

Who was in the band, Jack? And yeah, that's what I mean - those are some badass tunes on those albums. but they were written and recorded in a different time, place, and working environment than the "classics", so...attention was not necessarily being paid. Understandable enough, I'm just saying that it's not like Horace Silver stopped creating great music after his classic run at Blue Note, he just kinda stopped making great records. But by then, in most [peoples' minds (and in a lot of peoples' careers and actual playing opportunities), the records pretty much were the music. It would be kinda cool to get a band together and play some of those 70s tunes, though. Tell you what - anybody who would go into a situation think they can readily "handle" Horace's 70s music based on their experience with his earlier works is in for at least a little surprise! BTW - I had nearly forgotten, but I included a cut from Horace's final BN album (which was actually BN's last "new" release before going dormant) on one of my BFT's (the first one I think. If anybody still has their copy & wants to get a listen to how Horace was writing in those days, there it is.

Not necessarily....just a working band to learn the tunes & make the records. They just lack - just a little - that "organic" thing that Horace's records had when he used his working band (even the quintet on 27th Man was a working band, iirc). Of course, with all the "extras" you're gonna have some of that , but...I dunno...it sounds like studio music in execution & there is so much more there. A better producer might have pulled it all together, maybe. Horace didn't have a full-time band back then, just groups he put together for runs of gigs. Somewhat the same thing, but not quite...I know he used John McNeil a lot in the 70s, and he's a fine player, but tenor players...I don't know...I once heard he was using Ron Bridgewater for a little while, and hell, I'd prefer Bob Berg, but who else, I don't know. But yeah, the charts are mostly superb.

I'm with Paul about the tunes - Horace was still growing as a writer and there are some really meaty gems there, some true "lost gems". Not so hot on Harrell, Berg, or Larry Schnieder, who's on at least one (hold your calls, please, I know they're all great players, just personal preferences at work, nothing more), but they don't mess anyth8ng up either, far from it. There's also a lot of that dreaded 70s "recording sound" too, so people who hear "style" over "substance" might well let that be all they need to hear before rendering a negative verdict. But I tell you this, and will stand by it no matter what - there is plenty of great writing on those albums. People who are interested in Horace Silver - Jazz Composer and not just Horace Silver - Purveyor Of Funky Hard Bop (and what is that, about enough people to buy about 2/3 of the promos that would get released?) need to hear these albums. For those people, it's my understanding that the whole series has been blogged somewhere. But I couldn't tell you where, for real. Since I already have all the albums, I didn't follow the trail. And Paul - when you get a sec, go back to Voices (with Monica Mancini apparently the female lead, which explains any number of things...) & check out "I Will Always Love You". Skip the performance and check out the tune. Talk about something that sounds fairly straightforward until you really listen to it, this is it!