JSngry

The complete listing of remastered classic Fania reissues are here: http://www.descarga.com/cgi-bin/db/fania

Tnr!

Gypsy Rose Lee Bud Collier Slayer

Belated best wishes!

Holyope that you birthday was Stittfully delicious!

Have another one today!

Al Franken Jule Styne Mary Shelley Carroll

Oh, the spots themselves are quite often conventional enough. It's the spots within the spots tha'll kick you ass.

Now back in stock at Da' Bastids: Volume 1 of the J5 remixes: http://www.dustygroove.com/warehouscd3.htm#37799 Volume 2 of the J5 remixes: http://www.dustygroove.com/warehouscd3.htm#47202 And these two further items which may be of interest: I have it, and it is for the most part excellent. The Monday thing is really, really interesting an interweaving of a tricked up take of the Herman band's original interspersed w/her densely layered vocals and an extended live solo section by Alex Sipiagin on trumpet and Scot Colley on bass playing along with a track that Monday constructed out of the Herman original. It would be a gimmick if there wasn't some musicality going on in all of this (and it could still be a gimmick even if there was...). But this works as music, period. Bigtime. Kinda hard for me to get excited about more reissues of stuff I've heard for more than half my life when there's this type of music being made today... Had to order this one. Expecting more goodness, as well as another great cover (which may or may not have anything to do with "super jizzco bakes".... If interested is piqued, carpe diem. I've had Volume 2 of the J5 on DG's "Notify" list for more than a few months now and it just came in.

Jeremy & The Satyrs Eddie & The Falcons Reuben & The Jets

HA! Her biggest "mainstream" hit (pure pop, it is) featured in a video game! (This is the "regular" version. There's three remixes on Premiumix that are totally dope.)

Sergio Mendes Serge Challoff Sir Duke

The man was a true inspiration for all of us who aspire to overcome (materially & spiritually) the destiny others would like to consign to us. R.I.P., thanks, and much, much love.

Been up all night & am beginning to fade, so replies will likely be brief. Let's go! TRACK ONE - Cute. I'm not too much of a fan of cute, but I guess this is ok. We all need to goof every once in a while. And this is a quite intelligent goof, so hey. Go for it! The less cute it gets, the better I like it. And the pianist is a really good straight man/woman. A lost art, that's becoming. Oh hell - I like it! But in spite of, not because of, the cute. TRACK TWO - Well, Zawinul's said that he wrote this as a throwback to the big-band ballad features, and indeed, I'd like to throw this one back. Seriously, it's a great tune (really, it is), but part of the beauty of the original was the orchestration, the colors & textures that Joe got out of his synths. Thos are colors & textures that you can't get out of accoustic instruments, so if you're going to do something like this, you better think long and hard about that. Or not. But I would. And there's no Wayne here. There is an alto. I'd really think long and hard about that. Or, again, not. But... No knocks against the sincerity of intent or of execution. None whatsoever. I feel it in abundance. It just doesn't stir any empathy in me. But it's a beautiful tune anyway, so points for that. I will say this though - I think Joe mentioned his days in Maynard's band as a specific inspiration for the composition, and this definitely has a Maynard feel to it in a lot of the ensembles. So maybe it's all good that way. Or not. TRACK THREE - This is good, this has flavor. And color. What it doesn't have is a pacing that insinuates itself into my mental emotional rhytms. But that's not their problem. That tenor solo, otoh, just might be... And that guitar solo definitely is (and so's the backing to it). They could've had me. But no. Oh well. But that trumpet player is inviting me back. Maybe. some day. But not now. TRACK FOUR - C....o....m....e......t.....o....m.........e.....m.........y...... None too shabby. Don't know why, but I'm thinking Oscar Peterson, or somebody of that school. If so, hey - it's good, period. Do it more often! TRACK FIVE - Fathead. he recorded this (on flute) for Atlantic (Head's Up), but this is not that. But hey - Fathead. Always a pleasure. Tasty drummer too. TRACK SIX - Somebody Ben-ish. Good tune, good playing. Touching without being moving, or vice-versa. You know what I mean. Somebody else who understands the tenor really well. Some of those tonal manipulations and fingerings are not for kids. And that subtone note - perfect. I can feel this one. Maybe not too deeply, but I'm feeling it. Always a good thing, that. Pretty masterful, all things considered. TRACK SEVEN - In Your Own Sweet Maiden Voyage (One Way), it appears... Just a touch of Jamal, but just a touch...And now, it's time for that crazyass Ricky Ford, that's ho it's time for. Yep, that's Ricky Ford and his crazy ass. If you only knew him as a Dexter clone from back in the day, forget about it. That shit's over and has been. Now he's got a lot of latter-day Sonny in him, as you can hear here. You gotta be crazy to play like that and not go crazy. Tiring after a while, but so what? TRACK EIGHT - Shepp on his best behavior? No, wait - it's Griff! The upper register tone & the eighth note swing gives it away, as do some/many other idyosyncracies. This sounds pretty latter-day, and Griff sounds aged. No matter. Johnny Griffin is a beautiful soul, and that's what I hear here. TRACK NINE - Cute again. Once is enough. Thanks again. Much fun!

Oh, it gets going. It just drives the speed limit most of the way. For me, Plays For Bird Sonny Boy/Tour De Force & ...Contemporary Leaders are less satisfying, although for different reasons.

Got the discs early this week, bur it's been a hectic one, so I'm a bit late in responding. Sorry. The usual thanks and disclaimers firmly in place, it's off to the races! TRACK ONE - The easy guess would be Milt Hinton & Hamp. I could still go w/The Judge, but not Hamp. Red Norvo, perhaps? Sounds like they were having fun. Drummer's got a tough gig on this one, deciding how to lock in w/all that slap bass rhythmic activity. This guy plays it straight, and although the results might have been more "interesting" if he hadn't, I don't know that they'd be more successful. Pleasant enough, this one is. TRACK TWO - Sounds like a late-60s/early-70s European recording. Altoist reminds me of the recently discussed Robin Kenyatta, who I'd not realized until hearing this might have had a strong tonal influence on cats like Oliver Lake & Arthur Blythe. I like this one. Sounds a little dated, but what the hell. Specific manifestations of sincerity may date, but the thing itself never does. Tenor sounds like a real talent still (but barely still) in the final formative stage. Little things here and there happen that probably would disappear with a little more seasoning. But again, I feel the sincerity. The rhythm section sounds fully seasoned, however. Sincerity of spirit, that's the main thing I take away from this one, that and some really good writing and scoring. Great tune that I know I've heard elsewhere. I'd have been applauding too, if I had been there. TRACK THREE - Keith's Vanguard thing on Impulse!, I believe. This is why I love Dewey - unlimited soul and no need for a rigid form to put it in. Just let that shit sing on out and all around! Keith's tunes are always groovy, and sometimes he is too. But Dewey's all I need here. Hell, Dewey's really all anybody needs... TRACK FOUR - Harold Vick, it sounds like. Was this tune on his Stata-East side? I don't remember. That was another guy with unlimited soul, although he tended to be a bit chamelionic about it. Cat would show up in all sorts of different contexts and play shit that seemed maybe just a tad "generic" until you really paid attention. Then the breadth of his motherfuckerness would become fully apparent. Dude knew the tenor and used it as a vehicle for expressions of a certain type of soul in a way that makes him very much an unsung hero of both the instrument & the music in my book. Yeah, Harold Vick was a bad man! Cool jazz name, too, Harold Vick. Ted Dunbar on guitar? His quirky phrasing seems to be heard here...Hey, everybody's good on this one, but this is the Harold Vick show afaic. TRACK FIVE - WTF kind of bass is that? The whole thing sounds pretty superficial on the surface, but a closer listening reveals some pretty involved, non-cliched ideas & some really well-integrated conga playing. That flute style sounds famiiar, reminds me of Rahsaan w/the heavy tounging, but I don't know... No matter, this is very much a "stealth" cut, easy to gloss over, but at one's own peril. TRACK SIX - Stubblefield? Hell, I don't know. It's good, nothing more, and nothing less. Might be some coke in that mix somewhere... Cat's got great control of the horn, that's for sure, but the intensity (and not just his) sounds just a little "assisted", if you know what I mean. I'm too old for that shit. Finally... TRACK SEVEN - I've always liked this tune, from Whitney on. Nothing here to convince me to stop, except that if the tenorist's not George Adams, he should be. TRACK EIGHT - No idea, but would love to have one. Mytee Fine! TRACK NINE - Sounds like a Mulligan (or Mulligan-esque) tune, and maybe Zoot on soprano. It's got that "corny in a cool way" thing going in both the tune & the soprano playing. Nice. TRACK TEN - "Yesterdays". Great tune. Surely that's not Lucky? Wow... Enjoyed it! Now on to Disc Two.

Long & hard.

FWIW, the Mingus/America studio sides w/Jones et. al. saw American issue on a Prestige 24000 series release - Reincarnations Of A Love Bird.

Among the weakest? I don't know about that, there's plenty of "good" playing by all concerned, but I definitely hear a "studio-self-consciousness" that's still going on today.

I have the Hubbard on LP and very much enjoy listening to one side of it, the one w/"Coral Keys". The other side pretty much sucks.

So here's a question - if something is funny in spite of the social baggage attached to (or araound) it, is it wrong to laugh? I hope not, because Stepin Fetchit's shit cracks me up every time. Not the context that it's being played out in, but his shit. Buffonery brilliance, it is. Buffonery is a tradition that exists (and always has) outside of the realm of American racism. The question of Fetchit vs. Tati I asked above was a serious one, as were they all.

McKinley Dorham Kinney Dorham Kenny Durham

Yes.

Mascara Snake The Arizona Diamondbacks Jimmy Webb

Sounds like it's a remix project for people to out of it to know what a remix project is.