JSngry

Ok....there's been better, there's been worse...but there's enough crosscurrents-of-the-time at work here to probably be of interest to some for at least a hearing or two...at times I'm thinking that if Miles really wanted to have been making "commercial" music in the early 70s, it might've sounded like this...and I think Eddie Bert plays a trombone solo w/a wah-wah pedal. I kid you not! Tell you what, though...those grooves do not stop! If only what was on top would have been as directed...

Ah...I was thrown off by the 2004 date... Teorecords, eh? Whazzupw/dat? Teee-ooo?

aka = "also known as"

NOT LISTED IN AMG!!!!! BWAAAARRRRRPPPPP!!!! Am I getting all hyper for a piece of shit? Somebody tell me!

Amazon MP3! : http://www.amazon.com/Soul-Makossa/dp/B000...0727&sr=8-4 using the O-Link, of course. CD BABY: http://cdbaby.com/cd/olatunji

Olatunji - Soul Makossa (Paramount PA 6061) Personnel Marvin Stamm (tp) Eddie Bert (tb) Joe Henderson (ts) Reggie Lucas (el-g) Gordon Edwards (el-b) Ronnie Lito (d) Bernard Barber, Eric Bruce, Michael "Babatunde" Olatunji, Kehinde Stewart (African d) Michael "Babatunde" Olatunji (African d, vo) Stacy Edwards (cowbell) Brett Brown, Charles Payne (shekere, African d) Akwasiba Atigbi, Erroll Edwards, Lady Oluoju Walquer (vo) Tracks 1. Soul Makossa 2. Takuta 3. Masai 4. Dominira 5. O-Wa And is that possibly Ronnie Zito instead of Ronnie Lito?

Is the inference here that, at some point in his life, Jimmy Mundy fell victim to narcotics addiction? Because I just came across a truly dreadful Sonny Stitt album produced by Carpenter, with three of "his" originals, and the whole thing was arranged by Jimmy Mundy. Just wondering...

I hope he didn't leave home without it.

And as long as the issue is longevity, hell, I think in the case of both Pepper & Stitt the answer is self-evident... if anything Pepper ahd worse habits but a better support system, and that's half the battle right there, at least the part of it that can be won...

wow that was neato! There was another DG episode w/Martin where the batcellorette was the kid sister of an old childhood friend of his. They had been buddies a long time back. She picked Martin, and according to some book for sale on amazon,. they did the do. This clip used to be on youTube but has since been pulled, if you'll pardon the expression...

I've got no problem with the upfront pimping of work. After all, we're here at least in part to "spread the word", no? And that's really all this is, no tricks, no gimmicks, just upfront Badfinger (ie - if you want it, here it is, come and get it). More power to them that do it like that. No sense hiding your light under a bushel, etc. It's the disingenuous "WOW! I just discovered the INCREDIBLE singer named Peenisia DeVajina. Talk about MELLOW!" etc...crap that bugs me. Man up (in a non-gender-specific way, of course) and bring what you brung.

Just saying that Stitt didn't particularly "explore", he basically "worked out".

Yeah, but he didn't set himself up as "superior" to them either. Or when he di, as w/Clifton & the whole female-wrestling thing, there was an assumption that we would "get" that it was really Kaufman (or in the case of Clifton, we would eventually realize that it was Kaufman), and in so doing, laugh along and with, rather than at, the focus of the comedy being the joke itself and not the victim. Of course, the genius of Kaufman, imo, and what made him the Trane of Comedy (some of that last stuff is to comedy what Interstellar Space is to music, again, imo) is that he understood the concept/setup/dynamic of perp/victim/audience at least as well as anybody ever has, and that whole eventually became his premise. The joke became the joke, if you know what I mean (and I'm sure you do). It was very "conceptual", too much so for many people, but... Borat/Cohen is just too simple in comparison, and, as we've discussed before, basically "crude" in concept and execution. To continue the musical analogies, if Kaufman was Trane (or Ayler, although I like the Trane analogy), then Cohen is, say, Peter Brotzman - you get the same superfical charge, but without nearly as many (if any!) layers of nuance and implication. Again, this is all my opinion. I learned a long time ago that arguing comedy can get nastier than arguing religion, and sometimes even faster!

There's a slew of, for instance, Coleman Hawkins records of which this could also be said. Still, there's a story being told, or more accurately, finished, and I'd not be without them. I guess. Which Bean records, anyway? Torwards the end no doubt. Yeah, Wrapped Tight is the first one that comes to mind, from about that time on out. There's a slew of, for instance, Coleman Hawkins records of which this could also be said. Still, there's a story being told, or more accurately, finished, and I'd not be without them. I guess. Which Bean records, anyway? Torwards the end no doubt. Why do some greats burn out and others last to advanced age? They´re all just as talented and thereby high-strung so the ´intense genius burnout´ thing won´t wash by me. Any theories? (Ha, I guess I should ask how often bears shit in the woods....) not an entire theory... but i'd throw in the claim that guys like sonny stitt and art pepper who were to a (maybe overly large) extent driven by competing with other saxophone players, "sportive guys", had a longer peak than many others who were maybe driven more strongly by trying to, say, express themselves, settle something with themselves... ) But both those guys died too young. It's interesting you bring it up and what you say, but it doesn't answer my question----just poses another, which maybe is better. It's also interesting that Stitt pretty much played the same on all his horns throughout his life. Art Pepper changed radically after he came back from the pen---and a lot of people didn't like it, but it was real. Maybe that makes him a bit like Miles, dunno. Maybe hiking throught the mountains is harder on you than calesthetics in your bedroom?

Except for perhaps the most critical - audience sympathy. YMMV, as the man says.

http://classicshowbiz.blogspot.com/2009/06...guest-andy.html

There's a slew of, for instance, Coleman Hawkins records of which this could also be said. Still, there's a story being told, or more accurately, finished, and I'd not be without them.

About what? The price of artistry sometimes being paid at the expense of declining craftsmanship? About how if you always sound "that way", then what does "always sounding that way" really mean? Never!

Chuck Findley always sounds like that. Always. Or hell, maybe it was Sol Marquez, now that I think about it...but same for him too. They always sound like that.

Ah....that makes sense.

http://www.allmusic.com/cg/amg.dll?p=amg&a...fpfwxqqhldhe~T4

Lee Moses Got That Will!