JSngry

I have "a copy" of it. yes. Really am surprised that it's never been reissued at least once in the US.

I would like to know if that recipie is worth trying.

http://www.dustygroove.com/jazzlp3.htm#387633

“Everytime a cop hits a Negro with his Billy club, that old club says, ‘BOP! BOP!…BE-BOP!…MOP!…BOP!…That’s what Bop is. Them young colored kids who started it, they know what bop is.” —Langston Hughes, 1949 http://historymatters.gmu.edu/mse/Songs/question3.html Didn't say that I believed it to be historically accurate, just that I liked it.

So, has he eaten her chicken? (no double-entendre intended, I swear!)

Which one? There are two from the same day. ← There were 3 volumes from that concert.I have all three. ← This one. I got the 2 CD RTE set from Berkshire, and then grabbed the third on Trema when it came out. Definitely da'bomb afaic.

I like Langston Hughes' explanation.

Maybe they're doing "This Magic Moment" with live actors... Either that, or Becker & Fagen are back in the band...

Wonder whatever happened to Waheeda? Her vocal on "Quiet Dawn" really seemed to upset some people, if you know waht I mean, then and now, but hey, it's a 7 yr. old kid singing one tough tune, and I think she was absolutely charming. Cathy Rich she wasn't!

Thank you for attending to it!

Now that I finally got a copy of the Japanese Lp reissue of this .... it will be reissued on a LoneHill CD under Jim Hall's name (hah! he wasn't even on all the tracks), with the Hall / Red Kelly session added ..... ← The Lone Hill CD only contains the three tracks with Hall, and all of "Good Friday Blues". ← The trio sessions with Howard Roberts are the ones that are really "interesting" to my ears. Kinda "out" in a "West Coast" way.

Lawrence did play w/Hamilton, and might be on the BNs, but the altoist I remember from them is Arthur Blythe.

YOU RULE, DUDE!!!!!!

Potts? I thought his first recorded appearances were with Alan Silva and Francois Tusques in Paris c. 1970. ← I would refer you to Hamilton's 1968 LP, Solid State SS 18043 - The Gamut, which features "Stephen Potts" on alto, along with Jan Arnett (of Booker Ervin "fame") on bass. Not in anyway reflective of Potts' work of years to come, but there he is!

Is there any hope on the horizon for getting this problem fixed? As it stands right now, I too am finding the board nearly "unusable", what with full page-loads, including those of posts, taking 60+ seconds apiece, as opposed to the old 2-4 seconds. I like to check most all of the ongoing discussions at a sitting, and when doing that now takes 30 times longer than it used to, well... Again, this is the only site that's displaying this behavior, and it happens with or without my firewall on. The first part of the pages (including the IE window "title bar") load at the old, rapid, speed, but then the thing just sits there seemingly "forever". Much slower than in my dial-up days even! Not to sound "hostile" or anything, really, but most of my time on the PC is spent multitasking on the Net, and if my Net use is disabled by trying to open windows to this board, well, that, to me, renders ths boards "unusable". Don't think I need to tell anybody how much I dig participating in this community, but until there's some inkling of what's causeing this problem and how it can be fixed, I have no practical choice but to lay low. I'm sure this will delight some people ( ), but I'll not be among them. Give me hope, Jim. For god's sake, give an old man HOPE!!!!

Is this Dixie Chicken? Mahogany Broiled Chicken with Smoky Lime Sweet Potatoes and Cilantro Chimichurri 1 1/2 pounds boneless, skinless chicken breast halves, cut into 1-inch cubes. 1 cup chopped cilantro leaves 6 tablespoons extra virgin olive oil 3 large cloves garlic, minced 1/2 teaspoon salt, divided 1/2 teaspoon pepper, divided 5 tablespoons dark brown sugar 3 tablespoons Dijon mustard 2 tablespoons bottled hoisin sauce 2 teaspoons balsamic vinegar 1/2 cup plus 1 1/2 teaspoons lime juice, divided 2 large sweet potatoes, peeled and cut in 1/2 inch pieces 2 tablespoons unsalted butter 1 teaspoon chopped canned chipotle pepper 1 teaspoon adobo sauce (from canned chipotle) 3/4 teaspoon ground cumin 1/2 teaspoon lime zest cilantro sprigs In a small bowl, mix together chopped cilantro, olive oil, 1/4 teaspoon of the salt and 1/8 teaspoon of the pepper; set aside. In a medium bowl, mix together brown sugar, mustard, hoisin sauce and vinegar. Reserve two-thirds of this mixture. To remainder, add 1/2 cup lime juice and stir in chicken; cover and refrigerate. In heavy saucepan, place sweet potatoes and cover with boiling water. Cook, covered, over medium high heat until tender, about 15 minutes. Reserve 1/4 cup cooking liquid, then drain potatoes in colander. Return potatoes to reserved cooking water and add butter, chipotle pepper, adobo sauce, remaining 1 1/2 teaspoons lime juice, cumin, lime zest, remaining 1/4 teaspoon salt and remaining 1/8 teaspoon pepper. Mash potatoes. Thread chicken on 8 bamboo skewers that have been soaked in water. Broil about 6 inches from heat, basting with reserved mahogany sauce until done, about 8 minutes. To serve, divide potatoes among 4 plates; top each with 2 skewers of chicken and drizzle with cilantro chimichurri sauce. Garnish with cilantro sprigs. Makes 4 servings.

Harold Land, Gabor Szabo, Albert Stinson, & Chico - now that was a group!. Don't know if it was ever a working band, but they cut two tunes for Impulse! that makes me wish there were lots more. And Chico's trio album for PJ - now that that Running Muskrat or whatever it is is dipping into the PJ catalog, maybe we'll finally get that little gem reissued here. Then there's The Dealer - dated, as are most Hamilton albums, but in a way that is appealing rahter than annoying, as are most Hamilton albums. Then they're his solo album on Soul Note, Dancing To A Different Drummer. Darn fine stuff. Steve Potts made an album with Chico for Solid State in the late 1960s, as did Arthur Blythe & Steve Turre for BN in the early 1970s. Chico's always had an ear for talent. He and his bands are what they are, but there's usually cause to check'em out.

I now have all your info - thanks. Hello Dusty Groove! ← Sure, NOW you're gonna buy that $120 copy of Sophie...

Here's another thing I notice - when I'm waiting for my O-Page to load and try to open another site in another window, the other window gets no action until the O=Page loads. This has never been the case before, nor is it the case when I repeat the action with other, non-Organissimo pages open and/or loading. I've always been able to open windows at will with minimum, if any, lag time such as this. Also, during the loading of the O-Page, my firewall shows tons of "outgoing" activity and very little "incoming". I have the same problem when my firewall is disabled, so I doubt that the firewall is what's causing the hanging. I offer this information not to complain, but only in hopes of providing information that can be used to identify what the problem might be, whether it be here on my end or elsewhere.

Wouldn't dream of it.

Been having a real problem since yesterday evening. The top part of the pages loads quickly, but the actual content takes forever. Other webpages have been behaving normally, so I don't think it's an ISP issue Anybody else having this problem? .

I find him to be as welcome on the Prez/Cole trio session as I find him to be godawful on the Bird/Diz/Monk session. The 70s session w/Hamp is another good'un. There are very, very few truly one-dimensional artists in jazz, and Rich is no exception.

Well now, if we want to consider Rich's importance in the overall (ie - more than just "artistic") picture of jazz, then he looms rather large, I'd say. Those PJ big band albums of his didn't generate the whole "big band resurgance" that began in the mid-1960s, but they certainly brought the whole thing into focus for the general public. The old folks dug'em, and a lot of the kids did too. Regardless of how one views those albums, they created a bit of a stir upon initial release. Buddy Rich was a name with marquis value, and the fact that he was now leading a tight big band with "contemporary" (meaning non-Swing Era and/or "rock"-inluenced) charts made a certain segment of the public sit up and take notice. Suddenly, "the big bands were coming back", and not in the form of ghost bands. Gerald Wilson, Jones/Lewis, Oliver Nelson, Don Ellis, and many others benefitted from this increased visibility of the form (or more accurately, from the public perception that the form was no longer "antiquated"). You could also say that Herman took a chapter from Rich's book in his adoption of more "contemporary" material, which led to his own "renaissance". Same for Kenton - he had pretty much been making easy-listening and other types of "frivolous" sides for Capitol since the mid-1960s. The only "name" bands that were continuing unencumbered were Basie, Ellington, and some of the dance bands. Some bands, like Gerald Wilson's & the Jones/Lewis group, were already in place before Rich's. But they didn't "break out" the way Buddy's did, and for one obvious reason - Buddy Rich was already a genuine legend, going back to the Swing Era. Plus, he was a genuine "character", somebody whose hyper, smartass, put-up-or-shut-up, show-me-something-I've-never-seen-before attitude was a direct reflection of his musical skills/tastes. People like that inevitable draw a crowd, especially when they can back it up. And now, here he was leading a totally "modern" band. You can bet that a lot of people noticed, and whenever a lot of people notice any kind of jazz, you can bet that the other types will be coming along trying to find a way to get in on the action. And often enough, they have a little bit of success. It's too much of a stretch to say that Buddy Rich's big band triggered the fusion movement, or any other movement. WAY too much of a stretch. As noted earlier, he didn't even trigger the big-band resurgance, although he certainly played a key role in bumping it up several notches. But its not too big of a stretch to say that his renewed "high profile" presence on the scene in those years attracted a diverse audience that was predisposed to enjoying non-mainstream Top 40 material, and that different elements of that audience found their way to different developements in the music as time went by. In other words, he brought people to the music at a time when there was a real risk of trees falling in the forest with nobody around to hear them. If the music he used to bring them is not to all of our liking, so be it. Important to the music? Not particularly, not for me. But important to "the music"? Yeah, very.

The Chicken Queen, her own self!

Highly unlikely.