JSngry

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.

Indeed it does. I really don't see how too many players under the age of, say, 35 or so can claim "authenticity" to "the tradition" in any truly deep way other than love from afar. The river has broken off into so many streams now that the water's flooded everybody's yard to some extent. But the closer to that "tradition" you choose to stay, the more you gotta ask yourself just what that tradition entails, and not just on a superficial "swinging, blues-based" level either. There's so much more to it than that... And coming to terms with it doesn't necessarily mean you change the way you play. But you still need to come to terms with it. Superficiality is the order of the day, and has been for quite a while now, but that doesn't alter the fact that if you "claim" something for yourself (again, no matter what race you are), you better have a damn good understanding of what it is you're claiming, or else drop the "claim" and admit to being a student. Nothing wrong with being a student. Nothing at all... From what I've read, Warne was very conscious that he was playing "black music" in a "non-black" way. Or "white music" in a "black way". Whatever combo works. But the point is that he confronted identity & integrity head on, and his music has a power that the music of few white musicians of his time did. There's a reason for that, and genius is only a part of it. Genius in the service of bullshit will just get you some high-grade bullshit. We are living in a world today where barriers are breaking down, and concepts of identity are organically changing as a result. I'm all for that, believe me. But I'm seeing it mostly in the young people, not too many of whom give a rat's ass about "traditional" jazz ) as anything other than one of many "roots", if they care about it at all (and frankly, I can understand why they don't. Now more than ever.). So anybody under a certain approximate age who talks about the "tradition" these days in terms of a manifesto or some such is guilty in my eyes until proven innocent. Such a somebody is going to have to prove to me that they ain't either denying or theiving. Or both. And - white folk of most all ages still got a funny little habit of thinking that everything is cool with them when it ain't. The classics, it seems, never go out of style.

Nah - windbreaker under the uniform combined w/a visible flat top. CREEPY! Dude, any player w/o a hat on a baseball card back then was somebody you knew was not in a stable position...

I knew I was leaving somebody else out...

If you're white, play jazz, and didn't come up in a hermetic environment, sooner or later you have to come to terms with the intersection of "identity" & "integrity". If you don't, you're a fool and/or a crook. Plenty of both yesterday, today, and tomorrow. Chewy's statement might have been simplistically stated, but the idea behind it is not without merit. Far from it.

John Lennon Oedipus Electra

More pictures of old sports cards featuring people who look like criminals go here. Lord knows there's enough examples. And - NO DENNY MCLAIN!!!

More pictures of old sports cards featuring people who look like criminals go here. Lord knows there's enough examples. And - NO DENNY MCLAIN!!!

This is how I first encountered the man. He kinda scared me.

It's some nutty shit, this one is. Everybody sounds buzzed on something or another, shits sloppy like a mofo, tempos are throught the roof on at least one occasion and in multiple places simulataneously on the others, and nobody seems to give a fuck because they're having so much fun. One of my favorite Hub sides, period. Seriously.