JSngry

Hope there's no problems with those. Mine were CD-Rs, btw. Not sure if the potential for screwups would be the same. Let's hope not!

When was that Bud Freeman/Ray McKinley duet that Chuck mentioned? Also Don Byas & Slam Stewart @ Town Hall, 1944.

Powers Boothe Shirley Boothe Eddie Hazel

Up for Metroplexian Weekend Planning!

LTD LBJ LTB

Imation's gotten mixed reviews, but I've always had good luck with'em up until now. Bought a spindle of 100, and they'd all only burn at 4X in the computer. Noticed that they were manufactured in India, which is a new one on me. What I suspect happened is that a new plant opened up in a new country, the QC hadn't gotten straight yet, and some Music discs were branded, packaged and labeled as Data discs. That's the most logical explanation, no? Anyway, Target was cool and let me exchange them for an equal quantity of Memorex for only $2.00 more, so that part's cool. But if you use Imation blanks even sporadically, be on the lookout for ones made in India. They may or may not have the same flaw as these did, so don't buy them for any panic projects.

No, Hipnosis was a glossy cover. It just used the same cover photo as the earlier Jacknife.

Be careful what you ask for...

Charles Tolliver Charlie Parker Buckshot LeFonque

Lena Horne Zina Garrison Sheena Easton

I'd give that honor (if only in strictly musical terms) to "I Got The Feelin'", which broke the beat up a helluva lot more than did "Cold Sweat", which in turn had broken the beat up a helluva lot more than did "Papa's Got A Brand New Bag". "Give It Up Or Turnit A Loose" palyed the same games, but that was more spontaneous a creation, and not as tight ensemble-wise. Thing is, if you believe Wesley's book, Brown just came at the band with very rough concepts, and it fell to the M.D. to make them literal. You can hear this on the first take of "Cold Sweat" where Brown's going on and on about hitting it "on the one", when it's obvious that, although he wants to FEEL it on the one that he actually wants it PLAYED on the two. Now, to make this relevant to the point at hand, most of those 66-69 classics were "translated" by Pee Wee Ellis. After he left, you had the Collins Brothers Crew for a year, and then Fred took the reigns. I personally think that Pee Wee was overall the hippest of the bunch, and had the most vision in terms of breaking up the beat. Once he left, the stuff was still funky as hell, but in a less radical manner.

One of these days I'd like to be worthy of such words...

I ask because I've never seen that credited anywhere before. Lloyd's got credits for the later 15 Big Ones & The M.I.U. Album, as well as that whole Celebration offshoot thing, but I dunno....I find it hard to believe that that's Lloyd's tenor on "Trancendental Meditation", if for no other reason than the tone is so unfocused and ragged. Sounds more like it might be somebody like Steve Douglas, or even/probably Mike Love (who, remember, honked out a few lame solos on earlier BB sides). It's pretty bad tenor playing, really. Friends was when, '68? Had Lloyd gotten into TM yet?

Understood, and appreciated.

Hey - the one time I went to a SuperCuts was in Albuquerque, 1981, and I could tell as the cut was progressing that this chick was just following "the formula" w/o paying any attention to the way me hair actually laid (it's kinda quirky that way). Halfway through, I asked her, "Are you SURE this is gonna work". She cheerfully (if blankly) assured me that, yeah, it was going to be GREAT, that "the formaula" was fool proof. Well, it didn't work, and I left disgruntled. About halfway to my car, I looked at myself in a shop window and seeing that my head now resembled a Caucasian Gumby-As-Chia-Pet, I turned around and stormed back into the store to demand a refund. The chick asked me if she wanted me to "fix it". I asked her why I should trust her to "fix it" when she couldn't get it right the first time - what would be different, had she taken another "styling class" in the intervening five minutes? A discussion with shop management ensued, the end result being that I got a refund, and it was mutually -and readily - agreed to that I would never return to that shop. I can understand a bad haircut, but jeez, if you fuck something up, just cop to it for crissakes!

Allen Ludden Betty White Lorenzo Music

Interesting that not one person (so far) uses students at a barber/beauty school. I did this while in college, and if you get the right person, you can get a sweet deal, Finding the right person, though, isn't always easy...

I would take everything (well, a lot) that Lou says with the proverbial grain of salt. He's prone to "colorful" comments that make for better copy than they do fact. Case in point - his telling a good friend of mine that Wayne Shorter "never could play changes right" and that "Miles Davis was always a faggot". That's not a dis on him or his music, I'm just saying that I'd use anything he says as a "starting point" rather than the "final word". I'm also not saying that there wasn't a case involving counterfeited BNs at (roughly) the time of Alligator Boogaloo's initial release, just that I've never heard of such a thing. What I have heard of was Levy being convicted of racketeering and extortion, which involved, among other things, counterfeiting albums for sale as cutouts. And Alligator Boogaloo was a staple in cutout bins throughout the 1970s. Coincidence or not, I can't say. But if I was one to put all the various scattered facts together and make a blanket statement (a not uncommon tendency in the jazz world, btw), the results might be something like Lou said. Details of the Moris Levy saga can be found in the book Hit Men. It ain't pretty stuff. When Mingus made his notorious comment in the early 1960s that "gangsters run jazz", it was surely Levy to whom he was referring.

Word has it that Wilburn has "social" issues involving race and "other things"... Word also has it that he's being egged on in his antagonistical endeavors by another drummer who was fired by Miles, an "Astral Pirate" of sorts... That's just Word. No claims of absolute truth or exclusive knowledge are being made.

I'm not Chuck (or Lisa for that matter), but I'll bet the reference was to Morris Levy.

Minnie Minoso Sal Mineo Nick Mancuso

A good deal on Fred's book: http://www.dustygroove.com/books.htm#371349

Oh, he was into all sorts of unique intervallic shit in his composing and improvising. That's not all he did, mind you, he was at times a more traditional player. But he had a bit of logic-freak in him as well, Check out the Muse sides (if you can find'em), as well as a Savoy side called Motivation (mega-ditto). Some pretty interesting/unique science on display there.

Have you read this book? Highly recommended if you haven't. It goes into a lot of detail about the Bootsy excursion, which really only lasted about a year. And it goes into detail about a lot of other things as well. A fasinating read. Consider also that when Fred left JB for P-Funk, the hits had already stopped coming for Brown. "Get Up Off That Thing" was a bit of a "comeback" hit, and that ws in 1976. Before that, you gotta go back to 1974 and "Papa don't Take No Mess" for a genuine, bona-fide James Brown hit. A lot had happened in those two years, and the bottom fell out of the Brown operation real quickly. The most infamous incident was the trip to Africa for the Ali-Foreman spectacular. Brown had the plane so overloaded that it couldn't take off safely, yet he insisted that it do so anyway. Cooler heads finally prevailed, iirc, but it became clear to many of the people around him that the run was over and that the leader had lost his mind once and for all. MAss defections followed, and, without any momentum, replacements were not of the same caliber. Jimmy Nolan stuck around, God bless him (although not entirely for altrusistic reasons, as Wesley's book reveals), as did St. Clair Pickney, but otherwise, it soon became a ship adrift, with nobody really interested in setting it aright.

Yeah, especially since all the viable discoveries that can be made in the realm of traditional, tonal, harmony have been made, at least as far as tertiary and quartal harmony goes. Beyond that, I think it all gets too "unnatural" to ever become a working model (Bill Barron being a notable exception), although I'd love to be proved wrong on an ongoing basis... But even if everybody's playing the same notes, more or less, that still leaves tone, phraseology, and structure as outlets for meaningful personal expression in what has become a less than personalized medium. But finding that within yourself, if it even exists within yourself - by no means a sure thing - is a difficult task, and the jazz world of today (not least of all within the musician's community...) is not set up to encourage difficult tasks, no matter how great the potential rewards.