JSngry

Lean On Me is a freakin' gem! Not "perfect", but...

Yessir, I believe you are. Collectibles has released some (all?) of her Atlantic recordings, none of the Cadets.

Have Shirley Scott's Cadet sides ever been legitmately reissued on CD anywhere in the world?

AAARGH! You were too fast!

http://www.wikihow.com/Start-a-Record-Label

Tou know what I got in my stools? Fish eyeballs. They just sit there and look up at you & dare you to flush them. And so I do. With a hearty laugh. Stupid fucking fish eyeballs.

In Firefox it's Tools - Options - Privacy - Cookies - Exceptions In IE, it's Tools - Internet Options - Privacy - Sites

Even if you have cookies enabled for your browser in general, you might have accidentally this specific site. Check you browser's list of sites that your computer will not accept cookied from & see it this (or one related to it) is on the list.

Well, I bought that Chambers/Young side new back in the day! I was kinda looking for anything Joe Chambers related back then, especially after The Almavorid., which was kinda like a cult classic that only a few people picked up on, but those who did, dug it. Yet, this Finite side totally passed me by. Maybe it didn't have distribution in my part of the country. This was before the internet, and even before too much mail-order sophistication, remember. otoh, I did see the Al Foster Laurie side. Once. And only once. btw = Double Exposure sees constant vinyl reissue over at DG.

Some people might take pause because of a lack of "great" soloing/soloists. And that's a valid observation. I just don't think it's relevant to the music's intent in either conception or performance.

Jim never knew!

Nina never knew.

Or Carl Albert, if you like vintage gear.

A look at the personnel will let you know what's up here: Joe Chambers - Drums, Marimba, Vibes Eddie Martinez - Electric Piano Herb Bushler - Bass Omar Clay - Percussion Paul Metzke - Guitar Dick Meza - Sax (Tenor, Soprano) Ray Mantilla - Latin percussion, Conga, Misc Middle 70s, a little electric Gil, a little pre-M'Boom percussionisity, some Latin influx (Meza was all over Barretto's progressive Fania sides of just a few years earlier), in other words, the 70s when the 70s were still open (and fun). with fusion not yet entirely enslaved by Fusion. And this music very much lives up to the ideal of fusion as an idea, a notion that music could/should be opened up for musical reasons. Joe Chambers ain't never been no whore, and he ain't one here. The compositions are all meaty, and the players tackle them as serious pieces, not vessels for ego-tripping. People who just don't want to hear electric and/or latin and/or "rock" instruments & influences just because they are electric and/or latin and/or "rock" instruments & influences, hey, this ain't for you. Obviously. But everybody else, give a listen. This record was a very pleasant surprise for me, since I was around in 1976, but never knew of it then. My loss, but batter late than never, and if anything, the music sounds fresher now than it would have then. It's got that vitality of being in the moment (and "of its time, in the good way) that too much of today's intentionally retro-looking music (including retro-THIS type stuff...) lacks. Highly recommended, actually, at least as much for spirit as for anything else, but there's plenty of anything else here too. And if you pulled the vinyl rip off a blog before the reissue hit, hey - it's time to do the right thing.

As in "neen".

Actually, if I understand the terminology right, it's a very appropriate term(s), since it refers to the number of pressings used to extract the oil. "Extra Virgin" & "Virgin" are the oil from the first pressing, "Extra Virgin" having the lowest acidity, as noted, (perhaps it is the "first of the first"?). Anything after the first pressing is not considered "Virgin", which makes sense, really. http://web.foodnetwork.com/food/web/encycl...70,4171,00.html

I bet it's not wholly unlike hearing Sam Taylor w/Raymond Scott's Secret Seven...

Discovery, yeah, that's it. Thanks.

Donald Byrd was just a damn good musician, period. Not always who I want to hear on a date, but still, respect, and plenty of it, is certainly always given without hesitation or begrudgement, even when the love's not particularly pulsing.

I've got the old Revelation(?) LP issue, and frankly, Byrd has some occasional intonation issues that clash with the string writing.

Wasn't Ernie Kovacs fond of using Esquivel material? As far as taste v imagination, I can do business with one, have nasty sex with the other, but would only consider getting married to the combination.

You are right, and this session has been mentioned here & there a few times before. It's really good stuff, especially Track 3 which is Unity, Pure Newark Style.

I've met three African-American men from Chicago in my life who were regular attendees at Ammons' club dates. All three of them eventually teared up when I asked them what it was like hearing Jug live. Apparently, as noted, there was a lot of reciprocal/reciprocated warmth in both the room and in the community there. "Community", that's the key word, I think. Lose/change that, and everything else changes as well...

Oh, I enjoyed it just fine, I think that Mancini's skills as a texturalist were a bit "underrated" due to the function of the contexts that he so often put them to. It's just that "sweaty" would never be an adjective which would come to my mind in conjunction with his work, especially during a summer where we her have been routinely going over 100 degrees every day, and especially on a day like today, where it has rained, and the heat has dropped just enough to change the overall environment from kiln to sauna.

I just voted for Prince.