JSngry

I already have 4 Los Panchos cassettes purchased at a truck stop, including one where they interpret the songs of Ernesto Lecuona. Adding Gorme to the mix might be overkill. I do have this one, though, w/arrangements by a young Eumir Deodato: Not bad.

Jimmy Dorsey?

This is stuff that is unabashedly full-blown sentimentally romantic. Not for hardasses, coots, bastards, or anybody else who needs to feel "in control" at all times to get a hard-on. Otherwise, combine Trio Los Panchos with some wine, a good sunset, and the one you love, then go for what comes natural. It's a good thing, it is.

Dude, she worked in the context of those Mizell productions precisely because of those Mizell productions. Left to her own devices, it's pretty slim pickings... Still, if you see a copy of Flute In for a reasonable price, pick it up, just because. No Lee Morgan (or Billy Harper) collection is truly complete without it.

Up, for our guest!

Magic Drawing Board Dancing Bear Grandfather Clock

Jimmy James & The Vagabonds Bill Deal and The Rondells Mouse & The Traps

They would be far to hip to worry about shit like this. In fact, they really wouldn't care... Hey, my love for The Ohio Express knows no bounds. But Elton just sucks, period. Not all forms of bad music are equal... But we know you listen to a lot of real cool music, so we don't judge you by the Ohio Express. ... Yeah, I also dig this one by Spanky & Our Gang:

"Blues With A Touch Of Elegance", L.A., Capitol, early-mid '60s, that might lead you to expect a Mancini-type marshmellow (sic) thing. Curtis Amy, Sonny Criss, Clifford Scott, etc. might lead you to expect something else. Truth is, it splits the difference in a totally organic fashion. I was pleasantly surprised by this one, and also by the followup, which is a little more "commercial" in repertoire, but not in concept & execution. Gerald Wilson it ain't, but BFD, if you know what I mean. If you want to get a taste of Matthews' writing, check out the Atlantic side he did w/Esther Phillps. No complaints there either. Nothing but hard-swinging, blues-based writing of a very high caliber.

Duke Ellington, who had bags under his eyes Papa, who's got a brand new bag Bhagwan Swaminarayan

Lawrence Olds Lawrence Welk Arthur Duncan

Nell Carter People who smoke Carter Hall pipe tobacco (pass the word, the chicks are back!) The Verve Pipe

They would be far to hip to worry about shit like this. In fact, they really wouldn't care... Hey, my love for The Ohio Express knows no bounds. But Elton just sucks, period. Not all forms of bad music are equal...

Yeah, that's the Impulse! I keep coming back to more than any other. Tauhid is unexplainably unsatisfying for me, & Karma, vibe-heavy though it is, is one I wore out back in the day. The others all have their charms, but Live At The East has a freakin' mojo.

http://en.wikipedia.org/wiki/Stone_soup http://www.imdb.com/title/tt0047718/usercomments

Looks like there's some jazz in there. And some heritage. And some...crap. Hey, it's a festival. That's just how they do, and have done for quite a while.

I beg to differ, kind sir! Stone Soup, baby!

The Columbia/Texaco LP cover, which still pops up in used stores around here, as does the album inside it:

Title tune of his 1959 TV special which celebrated the 25th year of his band or something, released by Columbia/Texaco on "promotional" 45 & LP (a pretty nifty compilation of older - and somewhat obscure, no hits here - Columbia things in addition to the new title tune), but anywhere else? My dad & maternal grandfather both worked for Texaco, so of course we had the records (and I still have the LP, like I said, a really nifty compilation), but I was wondering if Columbia made this generally available & tried to have a hit out of it (the song), or if it was just available at Texaco stations and the like. That would be kinda wackycool, buying the new Benny Goodman record at a gas station... As always, thanks in advance!

I have and like that one too, and to me, this one is a pretty big step forward. That's just me though. But it's definitely as good by anybody's standards, I'd think. Jim, Just curious what made you grab this new release? Seems like a) people are already ga-ga over Antibalas, or b) following McEntire's name, or c) varying combinations of a) and b). I guess I am c), though I've never been close to ga-ga over Antibalas. I like them, but again, my favorite recording of them is as a horn section on the MMW album. Have you heard this? Eddie Bobe, congas, bata, shekere, bottle and bell DJ Olive, turntables Antibalas horns: Aaron Johnson, trombone, Jordan McLean, trumpet and flugelhorn, Michael Herbst, baritone saxaphone and bass clarinet, Stuart D. Bogie, tenor sax and contra alto clarinet, Todd Simon, trumpet and flugelhorn Col. Bruce Hampton, vocals Danny Blume, guitar, baritone guitar, ambient guitar Brad Roberts, vocals Scotty Hard, Nomad Rhythm Maker, rhythm guitar, turntables and feedback Produced and Engineered By Scotty Hard I *thought* they sounded good on that Mark Ronson/Banksy thing too, but if held to the same standards the you probably hold horn sections to, its a bit of a mess. Yes, I have that MMW thing, and agree that it's just dandy. What made me grab the new one? Simple - I had gotten the last one based on hearing it thru a friend, liked it, and wanted to hear the new one. Heard it thru a friend as well before I got the order in, but it's all good now. "More of the same" more or less would have been ok with me (for at least this "one more" album), but I was quite pleasantly surprised with how much "more" this new one was.

Well, they're both African... But they're only "generally" similar Ade's a lot more..."sunny".

I have and like that one too, and to me, this one is a pretty big step forward. That's just me though. But it's definitely as good by anybody's standards, I'd think.

Billy Harper's on it too, as are Idris Muhammad, George Duvivier, and Hank Jones. Only on selected cuts, though. Apparently there was an Applause reissue: I found it used a few years ago & have kept it for Lee & Billy, who are only on one or two cuts, IIRC. It seems to show up used less often than her later albums, so if you see it and you want it, carpe diem. Those later albums of hers are much more conceptually produced, and better for it I think, since Humphrey is not a particularly strong improvisor and was better served by being presented in a different context. Her talents and those of Lee & Billy were different, and this album speaks to that.