JSngry

Yeah, the two cuts w/Mike Deasy are dispensible. No doubt. But the rest of it ranges from good to great, I think. Mostly great, if you ask me. There's likely to be more and/or unedited material. Same, only moreso. with the aforementioned The {rice You Got To Pay To Be Free, which is another one that deserves to be heard.

Cicely Tyson!

Did they call her Petrie because she was such a dish?

I still think you got Griff on there.

That one is a magnificent little composition for orchestra that loses something essential when reduced to a blowing vehicle. It also helps none that almost everybody plays it just a little faster than Duke did. But Duke's tempo really allowed for the inner sax voicings (which are really pretty off-the-wall - and Gonsalves is playing lead!) to speak, and if you don't have those in there, why bother? Or so they seem to think...

Haven't heard that one (but certainly would like to!), but have come across a Konnex side from 1982 called Alpharian that is certainly worthy. Gaynair's conception (& technique) had fully matured by this point, and the results are not to be trifled with.

No doubt. Exactly the feelings I had when I got the album... Maybe that's cause its one of the seminal mid-50s original hard bop dates, not a retread of a tiring formula? Dan shoots and scores!

The tunes on those 70s sides are where most of the interest lies for me. Horace's writing kept growing & deepening. Not at all a retread of his "hit" sound, these tunes are meatier than the more famous stuff. They still got the Silver "flavor", but the forms and chords are expanded far beyond what had come before, usually. Meatier doesn't necessarily mean better, but you gotta recognize that the although the trappings might've looked "commercial", the tunes themselves were anything but!

Are you sure? Seriously, that one's kinda tripping me out, becasue I hear a very strong personality at work, and it's Johnny Griffin's! The beginning sounds like Shepp's articulations, but not for long. Plus, there's a few moments where the lines threaten to go off into Warne-land, but again, not for long. The whole thing sounds like a really mellow (and/or old) Johnny Griffin, and I'm at a loss to think of who else's personality I'm hearing. The thing is, the guy sounds really well-seasoned (the whole band does, really, the pianist's voice leadings are exquisite), and the vibrato is that of a Chicago player (as is the sound of the upper register). The tone's not Von Freeman's (nor is the phraseology), and if it's not Griff, well... That note at 2:38... the phrasing from 3:08-3:13...and 3:37-3:40...6:46-6:54... Are you sure that's not Griff? I'm perplexed!

Well, uh, yeah!

I'm ready for Famous For Ribs.

http://www.google.com/search?hl=en&lr=...amp;btnG=Search

Not on CD anywhere that I know of, but it's supposedly "in the pipeline", whatever that means. Your description is, uh, colorful but not too far off at all. I love this side and agree that when it becomes generally available, it's gonna freak some people out. The Cannonball band w/George Duke was not bullshitting. indeed!

So, what, is "Drew Bledsoe" Spanish for "Danny White"?

Hobart Dotson Ho Chi Minh Hobo Ho

So it's not Griff on #8? Hmmmm....

Minute Maid The Keebler Elves The Jolly Green Giant

That's not Ricky Ford on #7?

Sue Johanason Sue Mingus Siouxsie And The Banshees

As is also true of a cat who's one one team's card while wearing the uniform of another, Larsen's in Giants garb on that Astros card. I smell Bobby Bland....er....trouble.

And thus has it always been.

Sivart Nosnibor Selim Sivad Serutan Yob

And yeah - the CD cover sucks!

In that little drought of the late 70s, I used to point to this one as "the last great organ album". In a sense, it was, if only because everything that came after that (even Earland's own Muse sides) had a de facto air of "getting back". From a "serious jazz perspective", I suppose there's flaws aplenty. Joe & Freddy might ramble on a bit, and most all of the tunes go on just a little bit longer than they "should". But at the risk of giving the impression that I hold this type music to a "lower standard", I gotta say that none of that bothers me too awfully much. The shit grooves all the way, and I think it's safe to say that for Earland and his audience, that's grounds for a good, solid "mission accomplished". There's certainly many "better" "jazz" albums, and there's even "better" organ albums. Yet, over the years, I've pulled this one off the shelf more often than quite a few of those. It's just got that "thing" to it, that vibe, that spirit that makes the "music" less important than the music, if you know what I mean. And I think you do.

You're welcome. I guess all I'm really saying is that, no, it doesn't matter. Not in the end. But there's a huge difference between realizing that to be so and assuming that to be so.