JSngry

Nope. Different stuff.

If you can find the Steve White Liberty side w/just the cover and not the record, buy it. Lousy record (well, "lousy" is a bit much. Let's call it boring instead), but truly bizarre cover!

Neptune told me that Pluto is really Larry Young.

Hmmmm.... !

If it's the same tune, "Blues For Hari" was composed by Tom Scott (who studied with Rao) & was recorded by a quartet consisting of Scott, Kellaway, Chuck Domanico, & John Guerin on Kellaway's 1967 live PJ lp Spirit Feel (PJ-10122). Also on that album is a Richards piece, "Ten To Five". Kellaway makes mention in the liners of playing in Ellis' big band, but no mention ismade of the HJS. "Blues For Hari" & "Turks Works" (composed by Arif Mardin!) both show up on the recent Ellis issue on Wounded Bird, Pieces Of Eight, a 1967 concert by an Ellis Octet at UCLA. Both Ellis & Rao were on faculty at UCLA then, and the liners wonder why Ellis assembled an octet for this concert rather than "reassemble" the HJS. That is the extent of the mention the group gets.

Play that funky music!

George 'Weezy Lionel

No salt on watermelon. EVER. It's just wrong.

So many of the names mentioned here - Ellis, Plummer, Richards, & Kellaway, were recording in various capacities for Pacific Jazz around the time. Not sure about Rao, but World Pacfic, remember, was the US label for a buttload full of Ravi Shankar sides as well as some other albums of Indian classical music. You gotta wonder if any of the items in the UCLA archives might have been originally done under the PJ/WP aegis, especially the items listed w/take #s.

Heard of them, yes. No released recordings that I know of. But you gotta think that there's some "documentation" of some sort out there somewhere.

Forrest Tucker Milton Berle William Hung

Red Nichols Buffalo Soldiers Bobby Troup

Gary Bias Gary Foster Gary Bartz

Did the basic "record making" process ever really change all that much beyond what is shown here?

Dude - I'm recommending the Grover. Seriously.

The Hissing Of Summer Lawns was brutally, brutally savaged by the rock press on its release. Seems like the folkie Joni was their heroine, and the light L.A. Pop queen of Court & Spark was their darling, but once she got all moody and musically intricate, they felt betrayed in a way that must have gone beyond the music, which I think is very good. This backlash carried over into the subsequent albums, and by the end of the 70s, Joni's sales had dropped, & her critical reputation was that of somebody who had gone off into left field w/little or no hope of ever returning. Myself, I feel that Hejira remains one of the great albums of the 70s, as well as Jaco's most musical playing. That's a damn fine piece of work right there. Don Juan & Mingus each tail off from the other (I found Don Juan erratic but involving, & Mingus to be pretty much unlistenable), but the reviews in the rock press showed no discernment between albums or musical awareness of just how new and interesting it all was whatsoever. I suspect that some of this was due to Mitchell's seemingly sudden turn to more consicously "arty" ambitions which occurred concurrently with the whole "back to basics" movement of punk & new wave (which most of the rock press was all over like white on rice), & some of it due to one of the oldest pitfalls in the business, namely, an artist who has established an "identity" that the critics feel a "personal" relationship with suddenly disowning that image and going off into something completely different. The best critics don't fall prey to this, but there's a lot of critics who are really just avid fans living vicariously, in some form or fashion, through the artists they champion (especially, it seems, female artists). I could never prove it, but I suspect that Joni had cultivated a certain "girlfriend" vibe with a lot of male critics (just as she certainly cultivated more than just an image as a, uh... "adventurous" sexual type among her male peers - the Neil Young story is one I haven't heard before, but it would not at all surprise me if it was true, although maybe it's a Canadian thing & I wouldn't understand ), and her sudden turn from "woman/child" into serious female musical innovator probably produced the same reaction from a lot of critics as occurs any time an insecure/inadequate male loses a girlfriend that they were unworthy of & lucky to have in the first place.

Pa Kettle Ron Kittle Kattle Kings 4-H Club

ha-HA!

http://www.devilducky.com/media/47738/

If there's nothing more to the story, don't sweat it. It's a 93 Lumina. Stuff like this is common, and nothing to worry about at this juncture.

That face needs changing, if you get my drift.

JAck Sheldon was a stalwart of Mort Lindsay's band on the MErv Griffin show. Did not know that he was also w/Joe Harnell's Douglas band.

Sylvester Stewart Sister Rose Rose Royce

Up for a challenge?

jim you are a wise man! people take note this cd is a deal closer! Yep. I got two copies on the shelf - one that I bought to learn some tunes back when it was new, and one that LTB bought for herself after she met me but before we moved in together. 'Nuff said. Plus, it's a win-win from the musical end of the deal. Plenty of musical detail for me, plenty of relaxing seduction for her. And the cool thing is this - if she's the right woman (and for me she was), over time those roles can kinda reverse, Nothing wrong with that, let me tell you.