JSngry

I know what you mean, but...if this is a 45 on a smallish label, the recording & the EQ-ing might have an effect on what comes out of the speakers in terms of percieved tone. Might...

I assume you mean #5 & 6: no. And I was hoping you might be able to nail the sax player, who's not credited. MG Well....it frequently sounds like Fred Jackson as Fred Jackson sounded on Face To Face. Could it be?

That's another one that I have and really like a lot, just haven't had it long enough to absorb the specifics. It's more like I remember the general sound and vibe of it w/o being able to place anything else. I got a lot like that, as well as a lot that I can get specific about. Life's short.

I'm astounded you didn't get this. A few days ago, you posted something that made me feel sure you'd got this one. Oh bollocks (as it were...), that's Fathead on alto, isn't it. I can always get him on tenor right away, but on alto, for some reason, sometimes it takes a while. Weird... Nope. MG Oh shit!

Alright, you're giving me an inferiority complex! Would Milt Buckner be the organist on #1?

You guessed the same as John; nearly right. So what's the tune? (No, it isn't "So what".) MG Groove Holmes w/o The Crusaders? Damn, this cut is starting to sound familiar... Curtis Amy?

Sorry dude, that's an alto, if you mean to say that it's a tenor being played on this cut. Now if you mean to agree with me that it's a tenor player playing alto, yeah. But that's not a tenor being played on this cut, unless you're playing a 33 @ 45. But would the guitarist be another Mel? Brown, perhaps?

I'm astounded you didn't get this. A few days ago, you posted something that made me feel sure you'd got this one. Oh bollocks (as it were...), that's Fathead on alto, isn't it. I can always get him on tenor right away, but on alto, for some reason, sometimes it takes a while. Weird...

ItalicOk, I got some quiet time to myself, might as well get this done pleasurably rather than in a rush. Might be a while before the opportunity presents itself again... TRACK ONE - Helen Humes, unquestionably, most likely from one of those LA concerts that yielded Just Jazz, JATP, and others. God I love Helen Humes. TRACK TWO - No idea, I have little broad exposure to this type music. But I have heard rhythmic elements of it incorporated into the better House I've been into lately, & I'm not totally unfamilar with the music in a boad(est) sense, so this is not something that discombobulates me. I like it quite a bit. More than taht, I'm not qualified (or prone) to say. That groove just elevates you and keeps you elevated. That's a good thing. Whoops, LTB just woke up. Gonna have to keep it short, gonna be another busy week, & gotta make the time count... TRACK THREE - Not quite enough float in the beat for my taste. Might be the recording, though. TRACK FOUR - Tasty! TRACK FIVE - Lloyd Glenn? TRACK SIX - Booth/studio chatter? Stuff Smith? Bongos? Chicago tenor? Not Jug? Nice! TRACK SEVEN - Not doing too much for me, but nice enough. Seems to lack something, a certain oomph... Organ is more interesting to me than the vibes by a long shot. Almost sounds like Earland really stretching...certainly resembles his style of composition. TRACK EIGHT - Not feeling this one. Oh well. TRACK NINE - Ok, I can feel this one. Big sound, natural swing, not getting hung up on worries about the "commercialism" of the arrangement, just laying into it and playing it honestly and with feeling. Very Jug-like, but not Jug, and I should know who this is. But alas... TRACK TEN - The strangest version of "People Make The World Go Round" I've ever heard...would this be Hutch from Linger Lane? That's the one post-Lion BN of his that I don't have. A bit unfocused, perhaps. Could have been better, but those were weird times to be recording this type of jazz for BN. Tenor's tone sounds like Benny Maupin or...Marvin Cabell! So... A-HA!!!! Wow, I had know idea this vibes player went there. But doggone it, I can tell Marvin Cabell a mile away! TRACK ELEVEN - That altoist has gotta be Louis Jordan. One of the Mercury sides, maybe the one arranged by Quincy? Ok, the alto solo sounds less like Jordan than the opening lick did, but I can still got there. Just w/less conviction. Nice jam. TRACK TWELVE - Some sangin' Los Panchos style would've been nice, but it's not a deal-breaker. Again, nice. TRACK THIRTEEN - I'm kinda pressed for time right now, my mind & listening have shifted to "hurry up" mode, so this one is probably not getting the recpetion it deserves. I can hear potential there, just need to find a less rushed time to listen to it. Is the vocal sampled? TRACK FOURTEEN - Cute. But as somebody who's been there and back, subject matter alone is not enought to win my heart. Not that it ever was. But...no. Thanks anyway. Interesting compilation. VERY interesting. Thanks!

Yep! You've got this then? So you know who the drummer is? And the organist? MG I don't remember offhand, but I think the organist is Don Pullen.

Is the single one of McGriff's Sue things?

Ok, I see that #10s been identified, and I am embarassed! Just shows you that you can have things in your collection & forget that you do. But that would be Bubba Brooks on tenor then, right?

Again late to the party, for which I apologize. Life, and all that. The usualy thanks and disclaimers are firmly in place, but this time I'll add one thing - MG told me that he doubted that too much of this music would "fool" me, or words to that effect. WRONG! MG, your resources are deep, dude, and I don't know that I can identify even one cut here with absolute certainty. I love it when that happens and the music is top-notch, which is definitely the case here! Oh HELL yeah! Now, in the words of The Great One, Away We Go! TRACK ONE - The tune itself is easy - "The Honeydripper", the Joe Liggins classic redone to grand effect by McDuff & Co, but this version I'm not familiar with. Rusty Bryant would not be out of the question, not at all. Rusty Bryant was a baaaaaad tenor player indeed! The control of tone is something you gotta respect, and if he goes for the "effects" sometimes, oh well. He nails 'em. And as his more "pure" jazz recordings have shown, this was not the only thing he could do. Far from it. HEard in the context of a jukebox 45 back in the day, this is some kickass stuff. TRACK TWO - Absolutely no idea, but I love the altoist's tone. Sounds like halfway between Hank Crawford & Leo Wright, not at all a bad place to be. The playing by all concerned reeks with genuine soul, not the affected kind. The tune itself could be anything, but the tune is not the point, is it? It's the feeling, and that comes through unambiguously, so mission accomplished. The drummer also is appealing. Too many guys on this type date just lay it down competently but generically. This guy sounds like he's into it, and he damn well should be, what with waht the altoist is putting down! TRACK THREE - "Dark Eyes" of course, and again, excellent jukebox-in-its-time fodder. No idea. Big, brawny, and not even an attempt at subtlety. Yet there's a high degree of professionalism, control, and expertise in everybody's playing that gives it a level of class that it didn't have to have to do what it set out to do. I kinda dig that. TRACK FOUR - "Moment's Notice", a tune that's kinda on my "heard it once too often" list at this point. But this is a good version. The problem I have with this tune is the same as with "Giant Steps" - the changes are so detailed (and non-traditional) that too many guys get so hung up in the math that they lose track of saying something. The guitar player does this more than the organist, but both do it. Having said that, I've heard far worse offenders, and this one is actually quite pleasant until you start hearing the math. And even then, it's still a fun casual listen. TRACK FIVE - Son Of After Hours, and definitely a 45! The speed of the groove noise gives that away immediately! Tenor player sounds like King Curtis in spots, but not so in others. Definitely a groove happening here. TRACK SIX - Son Of Honky Tonk, and definitely the same 45! Tenor player is a lot more take-charge here than on the flip side,and I could definitely lean towards King Curtis now. The organist I couldn't begin to guess, but he's in control on both sides. Good stuff TRACK SEVEN - I've heard about (but haven't heard) some Hal Singer sides recorded in France in the late-60s(?) that take a Nationalist vibe in both message & musical approach. I would suspect that they might sound something like this. This is some good stuff, inspired, connecting the old Soul Jazz w/the then-newer musical/political vibe, which makes a lot of sense, because the old Soul Jazz, the real stuff, never even tried to appease "White" sensibilities. You came to it on its own unique turf or you didn't get there at all (or else you found the white guys who were copping the stuff - sincerely or otherwise - & stayed there because it was more "comfortable"). This is some bad shit! I'm eager to find out who it is. There's defintiely an "entertainment" factor to parts of this, but I don't think its for any other purposes than stealth, and I'm all in favor of that. TRACK EIGHT - Well the tune is a no-brainer, "Chicken Shack". Somebody's talking about "white guys", so maybe this is Roomful of Blues or somebody like that. "Mama, is your husband married?" Gotta did some sleuthing, and I think I found the answer. Ok, I could do without the "cleverness" of "recreating" a vibe, which by extension is an attempt to garner "credibility" by association. Hell, that's just not necessary with playing at this level, especially seeing who the main players are. But I guess you gotta do what you gotta do... In the end, the music (and the groove) speaks for itself, and here it speaks strongly. TRACK NINE - Right where it needs to be. Tenor player takes his time (and that's a big beef of mine about so many of today's players - they don't leave no space). Nothing "special" but special precisely because of that, if you know what I mean. A slice of a life that doesn't exist any more, except in a few very isolated pockets, even though it's widely re-created. This is the real deal in real time. TRACK TEN - More soul. Lots of it. The tenor player...it's not Arnett Cobb, I don't think, but he has a similar bigass, slightly "weepy" sound. Beautiful! Good band, good groove, nobody's phoning it in, and if it's not anything "exceptional", like the track before it, it's exceptional precisely because of that. Very, very satisfying. TRACK ELEVEN - "Jive Samba". The organ tone reminds me of Wild Bill Davis, a player I love. But this one has the sound of "gigdom" to me, like they're playing it but not really into it. Pros that they all are, they turn in quite a good performance. But I ain't feelin' it all the way. Oh well. Shit happens. TRACK TWELVE - First guess is Jazz Crusaders w/Groove Holems, but I dunno... That doesn't really sound like Wilton Felder to me...Fine player though...maybe getting over on style more than substance a little bit...No clue, but it sounds like something done in the early days of "Soul Jazz Fad" . It's ok, but other things on this BFT hit me harder & realer. TRACK THIRTEEN - Like this bad boy here! Oh HELL yeah! I want this record, and I want it now. Them motherf&^Ers are PLAYING! No bullshit, just play the tenor! I'm thinking that one of them is Red Holloway, and that that drummer is God his ownself, at least for the moment. If this the last music I heard in this life, it would be a blessing. Square business. TRACK FOURTEEN - Drummer reminds me of Joe Dukes... VERY nice tenor playing, that Jug-thru-Prez (or vice-versa) thing...Yeah, again, no bullshit, all music, pure soul. What else do you want? Ok, sometimes something "more", but what else do you need? Not a damn thing, and I'll gladly take it in any "form" in which it is delivered. This works just fine, thank you, even if it starts out like it's going to be a quick radio-ready track and then goes off into album-length territory. That's most likely a producer's decision, and the players make it work. TRACK FIFTEEN - Don't know why, but the guitarist reminds me of Melvin Sparks...Altoist sounds like it's not his main horn, embrochure & fingering sound a little shakey, like he's a tenor player who picks up alto every so often. It's a different animal altogether, really it is...But the cat can play, no doubt. Now this guitarist...this is it, Jack! Can't think of anybody but Sparks who plays with this much fluency and this much down-homeness this naturally, not off the top of my head... Very nice. TRACK SIXTEEN - Gospel organ. Is this the Kynard PJ thing? A good friend hooked me up w/a copy, and I listened to it and dug it, but I can't say that I remember the specifics, just the general goodness of it all. Well yeah, gospel organ, that's a whole 'nother bag right there, and jazz organ fans who favor the more "expressive" aspects of the instrument are in for a real ear-opener if/when they start to delve into this stuff. Talk about speaking in tongues, I've heard some gospel organists just go waaaay deep into that. By no means have I heard a lot of it, but I've heard enough to know that there's a deep well of both instrumental and spiritual inspiration to be had. Ok, thanks for a most enjoyable BFT. Time to check out others responses & see what I've hit or, more likely, missed. I assure you, BIG fun was had!

Joe Mannix Lalo Schiffrin Lalo

Did a Google search for "Jimi Hendrix" "Sunshine Of Your Love" "flute" & found this: http://www.me.umn.edu/~kgeisler/G.html

1) There are hints of the later style. Malachi Favors is on bass btw. 2) There's a really good Hill discography here: http://www.jazzdiscography.com/Artists/Hill/hill-disc.htm Mike Fitgerald doesn't come around here any more, but the name "Ronald Lyles belongs to O-member "relyles" who posts here fairly regularly. The discography is a labor of love, and well worth checking out. 3) I don't know that he's said too much more about Bird than the ususal "what an experience it was!" type stuff.

That "code of ethics" shit is funny to me. Really. I mean, how much of a "code" is it if you spill it on 60 Minutes?

Glad to hear that you & your daughter never got to that point. Not all parent/child relationships go that smoothly, even the better ones. Count your blessings. Seriously.

The language is a bit intense, as is the vibe, but I'd be telling a lie if I said that I can't understand the at least theoretical possibility of this being an honest & understandable reaction to a very real situation. Add the divorce & the possibility/probablity that the kid has been being used as a tool in it, and you got the ingredients for all sorts of ugliness. Alec Baldwin may well indeed be a worthless P.O.S., but it's going to take more than getting really pissed at your daughter disrespecting you to make the case. Anybody who's been there knows that it - all of it - can happen at various levels of intensity. Kids begin to test their limits and eventually try to break them, and a lot of times they are totally self-centered about doing it, and oblivious, even unconcerned. to anybody else's feelings in the process. It's all about them, doncha' know. They'll give you a FUCK YOU vibe in a minute (or less), and mean every bit of it, at least at that moment. Sometimes a parent can roll with it, but sometimes... Doesn't make it "right" but it sure makes it "normal enough", for better or worse. If you haven't been there, you don't know how fucked up shit can get sometimes. I've been through it with my parents and with my kids. It's never been quite this intense, but... In the end, the love's been there, and it's all worked out over time. But it's hell until it does. What I think is really fucked up is leaking this to the media. Once again using the child as a tool, and a public one, no less. That is all kinds of wrong.

If you don't got some Gansta in you at some level, you're a fucking fool, a tool, a spiritual ghoul. It's all in how you channel it, and the same people who make the Gangsta impulse necessary have been clever enough to make sure that there's more than a few outlets available that ultimately play right into their hands, not the least of which is the notion of "Gangsta". But make no mistake - failure to resist and consider other options is suicide.

We're giving everything away. Open House At Our House!

Everybody should just pack up and move to Chicago.

Well, while you're being surrounded by all kinds of death, find a copy of Accent On The Blues & celebrate life. Seriously.

I strongly recommend that one (but not in this bastardized form, better to get somebody to burn you a copy of the J-Disc than to subsidize this crap) to all Tenor Geeks and other Lovers Of All Things Beautiful just to hear John Board on tenor. SWEET!

Also from 1957: I find myself listening to this and wondering how Frank Wess (the most "conservvative" of this aggregation) must have felt having Elvin play behind him. He sounds really invigorated by it, even with today's ears. Back in the day, Elvin was frequently described as "the ultimate hard bop drummer" or something along those lines. Well, yeah, ok, I can see that. And I can also hear the revolutionary/evolutionary implications of his introduction of (more overt) polyrhythms. But the thing that gets me about all of Elvin, and especially the earlier stuff, is just how damn loose he is. It really opens up a new dimension of swing, having that loose of a feel for the basic time. The "style" would be refined as time went by. But the feel was in place from the git-go. The style would be widely imitated & replicated, but the feel would seldom be.