JSngry

Hey Ghost - Have you read the (barely) posthumously-published Lee Morgan DB interview where he discusses the Jazz & Peoples Movement? Also, IIRC correctly, Jazz & Pop magazine had a rather lengthy interview w/Rahsaan where that scene was also touched upon. It included a photo of the Sullivan performance. Unfortunately, that's one of the ones that' gotten away from me over the years.

Oh btw - don't know if you can see it on the photo Mike posted, but Tata Guines' socks actually button up! I want me some socks like that!

la banda sin saxó: ← My bad, but Cachao did play with a New York City group in the early 60's. Clark Terry and two sax guys - Emilio Peñalver and Virgilio Lisama . "From Havana to New York" it's called. ← Pretty sure those are seperate sessions collected on one CD. Cachao came to the US in the wake of the Castro takeover. Terry is not on the cuts with Peñalver & Lisama (who played bari, not that that is necessarily is relevant to this BFT cut, although it might be... )

Hey hey hey!

Well, maybe it does, if you take standard record company procedure into consideration...

Well then, the album listing may well be correct, and are you in for a surprise!

Oops!! ← At least my guess was correct... ← YEah, but he posted a link, so discussion was still open!

He got the Buddy Rich teeth.

I want some socks like Tata Guines'.

I think the label was named in honor of the club.

Anybody know of any recordings (official or otherwise) from the time in the very early 1980s when he was using Harold Land?

Yeah, and in a way, that makes it all the more sad. If that's all you got and it gets taken away, what are you left with? It's one of those things that probably seems fair enough on paper, but...

No, but it IS somebody you've heard on BN and/or Columbia.

I can tell you that the answers for those two cuts will contain names that are very familiar to everybody here. In fact, one of the names will be that of somebody who is most likely represented in everybody's collection in some form or fashion...

Quite intentional, and thanks for noticing!

Well, the album listing says otherwise, but I'm not sure about how how accurate that is... And no alto on the cut. The identity of the second saxophonist has yet to be guessed (the linkage doesn't count...). NOT an unfamiliar player!

I've heard that Joanne took him for all of his songwriting/publishing rights.

Hell, he made eight!

How about rhythmically? Was he pretty stabbing & percussive in his comp or more level?

Louis Bellson still leaves me strangely indifferent for the most part, even with Duke. Can't say that he's a "least favorite" by any stretch of the imagination, but I always wish it were somebody else on a record when I see that it's him. Too bad, too. The guy by all accounts is one of the truly great humans of the music. I just wish I liked his playing more than I usually do.

Similar to, yes. Not a varitone, and not Stitt. And yes, the whole late-60s/early 70s big band scene was important to me and many others my age. It was the time when the whole "stage band" movement was really beginning to flower, and if you had a band director like I did, who was (and remained) a gigging musician as well as a school teacher, it was a chance for students to expand their tastes beyond the rock of the day and for the teacher to bring some of his reality into that of the school. Plus, there was a little mini-rennaisance of the big bands going on in the early 70s (my specific high school "era"). Ellington & Basie were still going strong (Basie was the very first live jazz I ever saw, December of 1970), Woody was playing some tasty rock-ish charts as well as getting the infusion of new, hip Broadbent/Stapleton/Klatka chartage, buddy's band was out there tearing it up, Kenton was still being Kenton, but freshly so, and of course there was Thad & Mel. And others. The traditional big-band medium was having a last, beautiful gasp of functional viability (that's just my opinion, of course). Today, I still enjoy the stuff, even if there's not much new that interests me at all. There's more to the medium than just playing the music, there's the spirit, and now that being in a real, full-time, jazz big-band as a career is pretty much a non-opportunity, the spirit has changed. It started changing in the 70s, as the veteran road-dogs got replaced by the eager schoolkids, which was of course how it should have been, but Marshall Royal led a life totally different than somebody like Dan Higgins, and it comes through in how the music is played. both are totally valid, of course, but they are definitely different. So, yeah - the big bands were important to me then (never mind hte actual Swing Bands, who I got a teensie taste of through my parents and their friends), and they still hold a special place in my heart, even if I think that the medium is for the most part spent. There ain't NOTHING like hearing a good one, a REAL one, one that's got miles of road and years of bus under its belt, live, either. It'll kick you in your ass (and otehr delicate areas) for a month of Sundays. But good luck finding one.

She's hot. She thinks not, but she's hot.

If you want one disc in the rotation that will give you the same thing only differently, consider Gil Evans' Svengali.

Greatly looking forward to it! How would you describe Hewitt's comping for horns?

Is this one of them Lutheran churches that serves beer at any and all non-worship service activities?