JSngry

Oh yes, I got that. I assume, a black folk saying, though. I can't hear white folk saying that - particularly not in an English accent MG Well, yeah, and the phrase "Jive Ass Mother Fucker" was in use long before Griff or anybody of his generation. What I'm referring to is the actual "term" JAMF. Remember how TOBA (Theater Owners Booking Association) came to stand for "Touch On Black Asses"? Looks like somewhat the same thing happened, albeit in reverse, to "Jive Ass Mother Fucker", and I'm willing to speculate that it happened long before 1957!

Most definitely. Backing out of a parking space in a regular car has now been declared a Non-Coverable Act Of Willful Individual Foolhardiness by 78.9% of all Texas insurance companies....

I think that one of the points is that if Louis Jordan was using phrase as a title in 1957, then it was probably a "folk saying" that might have been around long before surfacing into the "mainstream" as it did.

Not according to the news reports I've seen. SUVs and trucks are tougher to move off the lot, and more of them are showing up for trade toward smaller, more efficient vehicles. But dude, we're in Texas, where Reality comes to get away from itself!

"Please, no more", said the stranger rather sternly.

I couldn't agree more!

So, is this from the New Orleans Suite sessions? Didn't Hodges die in his dentist's chair during those sessions? So might this be a piece considered, but not used for, that suite? Or should we just wait for the CD to be released?

Pretty sure that the Scott version of "Rapid Shave" is the original. Grassella Oliphant did a version a few years later. Great tune, kindred in spirit to Hank's "Breakthrough" in how they descend down from the V chord.

Only have one LP of his Mercury stuff. An instrumental, I assume MG Yes, on his second album, w/Jackie Davis: http://microgroove.jp/mercury/MG20331.shtml Rev-Ola has a single-disc release that includes both Jordan Mercury LPs in toto, if you do that type of thing.

Louis Jordan recorded an original called "The Jamf" for Mercury in 1957.

Geez David, you're old by now aren't you?

Thank god.

Sure you don't mean the male ego?

Uh... when did this happen? Or do I not want to know?

0:08 from 2007:

And now...the REST of the story: http://www.rockabilly.nl/references/messag...le_robinson.htm

http://www.youtube.com/watch?v=inF0Ctrwy9A No gunplay, though...

9. Chuck Nessa is the bass voice in the backing chorus on Jimmy Dean's "Big Bad John". 10. Chuck Nessa was Big Bad John. 11. Big John Patton used to be known as Big Bad John Patton until Chuck Nessa called bullshit on him. 12. Big Bad John/Chuck Nessa & Big Bad John Patton went down to the crossroads to fight for ownership of the name. Big Bad John/Chuck Nessa won without too much of a fight, so to speak of. 13. In the first of a lifetime of decisions combining Deep Human Kindness with I Don't Give A Fuck 'Tude To The Max, Big Bad John/Chuck Nessa returned 2/3 of the name to John Patton, advising him to use it wisely. The rest of that deal is history, as Big John Patton became one of America's Most Beloved Entertainment Superstars. 14. Keeping the "Bad" for himself, Chuck Nessa resumed life as a mover and shaker, never flashing the "Bad", knowing full well that if you really got it, it'll all take care of itself. Moral of the story - Don't fuck with Chuck Nessa, but if you do, hope that he takes pity on your sorry ass and gives you the keys to the kingdom.

Supposedly made over $100K/yr before reaching teendom, and then nothing. Dropped by Capitol, and no more gigs. Yet he survived, stayed sane & healthy and lives still, apparently fairly recently returning to performing. YouTube clips and such available w/o too much effort. Discuss, or not.

Wow, a chick who digs jazz and orgasms in equally enthusiastic & erudite measures. One half of a blueprint for a better world, indeed! Now if we can just work on the male side of the equation and get them to realize that such women are treasures, not trophies... And if we can get everybody to stop spending so damn much on Virtual Reality Goggles!

DON'T MESS WITH THEM BRADFORD PEARS! I'M TELLING YOU NOW.

Seriously, I think you've just described, like, damn near almost all of America...

Wow, you mean there's someplace else like Dallas? Small world, eh?

And like all questions, the answer depends on what is being asked...

The band sounds horrible (and most likely intentionally so - May had the charts sent out to the band to get them road-tested for the studio, & Duke never pulled them out)! A wide stereo spread, a gazillion tones of reverb, a few ringers brought in (Al Porcino being one) helps hide that fact. But I had a speaker go out on me one time bavk in the day, and the vocal pretty much got lost, leaving the brass section. My GOD were they ragged! Of course, this being the Ellington band and all, it comes off wonderfully, that band could make loose and ragged sound profoundly beautiful, but I'm just saying, even by those standards... Reading shit like this always amazes me and I mean that as a compliment. You've got some deep ass ears, my friend. I've always thought the band sounded great and the album is one of my favorite Sinatra's. Never knew that shit about Porcino either. Doesn't ruin it for me, 'cause we obviously don't hear it the same way, but it will make me listen more closely. Oh, don't get me wrong - sometimes the Ellington band sounded better "ragged" than "tight". I'm just saying that this album is one of their raggediest, and that the folks @ Reprise covered it up REALLY well. But if you can find a way to get the vocals out of the mix & listen to the pitch, especially in the brass section...GOOD LORD is it all over the place. Same for the ensemble attacks - all over the place. But it works, and the solos are magnificent. Sinatra's been better, though, but he's been worse, too. The main thing, though, is the story that Duke deliberately sabotaged the charts (and therefore the session) by not having the band play them on the road beforehand, even though he had them and sent word back that all was going well. Some say that this was sending Sinatra "a message" for making overtures to Strayhorn about going onto his payroll. How serious those overtures were & how much truth there is to that story (others say that Duke was pissed about having Billy May write charts for his band in his style), I can't/won't vouch for, but it's all in the Will Friedwald Sinatra book, a book that I recommend, if with some non-deal-breaking reservations.