JSngry

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.

"Local", yeah, but w/an impressive pedigree, and not of the academic variety.

Michael Knott Bobby Knapp Jimmy Knepper

Not a damn thing!

Or a city in Indiana. Or a popular egg dish.

If only you knew... And soon enough you will!

Here we go, thanks & disclaimers carried over from Disc One: TRACK ONE - Blues! Up! and Down? They were playing a Scott Hamilton/Harry Allen thing for a while on KNTU a while back, and this reminds me of that. Except that this reminds me more of Buddy Tate than Harry Allen. But it doesn't remind me of Buddy Tate. But it does remind me of Scott Hamilton. Not bad. TRACK TWO - Blue Mitchell? Nah, couldn't be... Not really grabbing me at this juncture, but the bass/drum hookup sounds like they were having a good time. TRACK THREE - Oh HELL yeah!!!! Anybody who doesn't have this CD is wrong. REPENT!!! And anybody who doesn't dance while this plays is a menace to society. This guy's my age, probably a few years younger, but he's always had an "old soul" and comes by this shit more than naturally. I'll say it again - Oh HELL yeah!!!! TRACK FOUR - Do you have... him out! Dammit, I think I have this, but, you know... If one of these guys is Marchel, I'm gonna be pissed for not recognizing it immediately... Never anything wrong with a good two tenor bebop party! TRACK FIVE - Frank Morgan. Yeah. Noooooo problem whatsumever with Frank Morgan. TRACK SIX - Not bad. Good, soulful alto, really taking his time and telling a story. Veteran piano chops, although I find his story not as direct as that of the altoist. No matter. Good playing, and the alto makes me want to hear more. No small feat for an altoist. TRACK SEVEN - Oh yeah! Newport/NY. Somebody reissue all 6 albums, please. In a just world, this would have been more than a one-off encounter. So much for this being a just world. TRACK EIGHT - A bopper w/love for Hodges? Jeff Clayton? Here's a case where some improv would have enhanced the reading of the melody. TRACK NINE - Sounds like the old Columbia studio full of "mainstream" (in the old, Stanley Dance, sense) cats who came to play. And play they did. Like some BAAAAD motherfuckers no less. All meat, not a speck of bullshit. Bring it! TRACK TEN - In a holding pattern over Clark Terry Field, but permission to land has not yet been granted. Hope the fuel holds out. TRACK ELEVEN - "Jive At Five". Trombone 'til ten... Tenor sorta sounds like latter-day Hank trying to decide whether or not to stay alive, and not coming to any ready conclusions...Surely that's not a French Horn?!?!?!?!?!? I can't tell whether these folks are old, drunk, both, or neither. I'd feel a lot better if it were one of the first two... TRACK TWELVE - Well now, that's better! Sounds like this might have been recorded before the Lenny Welch version. It's got some sass to it. Suitable for stripping, but that's not necessarily a bad thing. TRACK THIRTEEN - Up Down we go again, until we're blue in the wherever we need to be blue. Hey now - this IS the Hamilton/Allen side! I've said some bad things about Harry allen in the past, and I stand by them, but this ain't so bad. Hamilton is Hamilton - he does what he does, he does it well, and he means it. It is what it is, and I'm not at all bothered by it. Two guys playing tenor (and music) the way that makes them happy. I might have differences of opinion at levels beyond that, but taken at the level of "playing what you like", no fault here at all. I'll listen to it, no problem. Ok, anoterh good set, Dan. My preference was for Disc One, but I'd not eat crackers if this one threw up in bed, or whatever that old saying is.