JSngry

Well, everybody's gotta be someplace.

No doubt. But still...

He also did Louie the Lightning Bug for some PS commercial about power line safety or something. I'm telling you, the guy should write an autobiography.

Sadik Hakim Joe Albany Rick Springfield

Ok, I jest. But how come Pepper's not on the cover? I know that all the albums were done under Byrd's name for BN, but the way the set is billed is "Donald Byrd/Pepper Adams", not "Donald Byrd with Pepper Adams", as was done with Grant Green & Sonny Clark. The implication (and the reality) is that this was a co-led operation. At least it was for a while, enough to merit the "/" designation. Surely there's one usable photo in the Wolff collection that shows both men. I defintiely am goofing when it comes to Crow Jim. Any operation thaI does Kenton & The 4 Freshmen needn't worry about accustions of Crow Jim And perhaps I quibble elsewise. But then again, perhaps not...

You would have been in my dorm!

PM sent about the Watkins.

Oh...my...god... There's a part of me that desperately wants to hear this, and there's a part of me that is ashamed to be a human being. Which one wins out will depend on what eventually turns up in trading circles.

There have been some total duds along the way, as well as some definite moments of, uh..."underachievement". But when it's good, it's damn good, and there's more of those moments than seems to be generally acknowledged. I'm hoping that spotlighting an album that has those moments in abundance brings this to people's attention for thier consideration. The whole "Rollins' Milestone recordings are all crap" school of general dismissal just doesn't hold with me, not even slightly. "Undervalued", yes, that's it, exactly, and for the equally exact reasons you mention.

The thing I dig about Branford is that he's not afraid to go into situations where he knows he'll get his ass kicked. Remember the carving that Betty Carter gave him on the old Night Music show? He took it like a man! You don't grow without getting handed some ass-kickings along the way, and Branford seems to have realized that early on in his career, and he's been cool enough to get them publicly, w/o trying to B.S. his way around the fact. I still think that the contrast between how he approached this date with Rollins is an interesting (and, in a way, disappointing) contrast (in results as well as in implications) to how Rollins went up with/against Hawkins, but I also agree that Branford did what he did superbly. His solo on "I Should Care" is right up there with his solo on Shirley Horn's "It Had To Be You" as some of the finest "traditional" ballad work of his generation/stylistic leaning, and seeing as how ballads are a B!TCH to play well, I'd say that props are due.

Eva Braun Eva Peron Laura Bush

Larry Ckinton Horace Silver Filthy McNasty

Speak for yourself!

I've been cheered by the responses so far, I'll say that much.

I think it's Max on "Salt Peanuts". My guess is Sid came out for "Hot House" & got such a big hand that he stayed on to finsih the set w/the brief "52nd Street Theme". The crowd wouldn't let him go, he needed to go, the set was probably about over anyway, so somebody probably said, "Just finish up, it's just a few more minutes", and he agreed. That still gives him two tunes as per the tray card, just not the two it says. ← Thanks for weighing in! Sid (Big Sid, that is) would have been a bad mo-fo to pull all the stuff on "Peanuts" - but then "Hot House" is proof enough that he *was* a bad mo-fo... From what Symphony Sid says, though, I rather think Sid was gone before 52nd Street Theme was played - but we'll probably never know... ← Well, I wrote that before reading Ira Gitler's liner notes, and I see that he reaches the same conlcusion as to what probably happened, fwiw... Here's a couple of additional things - [*] Although the tray card does indeed credit Catlett on "tracks and 6", maybe they meant songs 5 & 6, since Track 1 is just the introductory chatter. [*] There's a lot of confusion onstage after "Hot House" -the audience is going nuts, Symphony Sid's still trying to get the song's title, sounds like nobody's sure what to do next. Finally, w/o any introduction whatsoever, it's up and out w/"52nd Street Theme", The drumming on that sounds more like Catlett than Max to me, and would give Catlett his two tunes, but even if Big Sid booked on out as seems to have been the plan (and I think that the emceeing would have been more coherent if the plan was stuck to), what you can really hear in this concert is just hiw much Max got from Catlett. "For Big Sid" indeed! BTW - listening to Catlett's concersation is a trip. First, S. Sid calls him "our boy" (as he calls everybody)m abd Catlett says "your namesake", which goess totally over SS's head. Then he tries to get the tune's title from Dizzy, who seems to do a pantomime of pulling on his collar to indicate "hot", which Catlett interprets as "choke". It's a hoot!

Devadip Mahavishnu Turiya

I think it's Max on "Salt Peanuts". My guess is Sid came out for "Hot House" & got such a big hand that he stayed on to finsih the set w/the brief "52nd Street Theme". The crowd wouldn't let him go, he needed to go, the set was probably about over anyway, so somebody probably said, "Just finish up, it's just a few more minutes", and he agreed. That still gives him two tunes as per the tray card, just not the two it says.

Just a guess, but could it be lipstick in a tube? Didn't lipstick used to not come in a tube and have to be applied by some other way than just drawing on the lips? I'd think that the ease of application afforded by the tube would be considered pretty snazzy if that was the case. Now, what a tube of lipstick has to do with a drumstick, I don't know...

It comes with specific instructions, in fact.

Same avitar, but I don't think so.

...some Coltrane collectors being so fanatical that they've got bootlegs of Trane taking a shit? Well, Sam Most seems to have been aiming for the same market...

Might as well say that the color scheme of the packaging is very attractive as well. A deeply golden yellow is the main color, which contrasts nicely with the soloid balc discs. The type in the booklet is black, with the occasional red highlighting, on that same golden yellow, Liner notes (which I've yet to read) are in German and English, and the photos are very nice, the one of Joe being particularly "striking". The paper stock used is nice and slick too. Here's teh deal - there's enough Jordan material on here to make a killer single disc. But you know that US Verve ain't gonna do that. They MIGHT do it for Joe if there's more material with him, but I don't know if there is. And Carmel Jones? The cats at US Verve probably think that "Carmel Jones" is a craving for candy or some such. So unless I'm severly underestimating the state of the domestic jazz record industry, I'm thinking that this is one of deals that's got "carpe diem" written all over it. And I'm all about the carpe diem, doncha' know. A bit pricey the way I got it, to be sure, mainly due to shipping costs (but hey, turnabout is fair play, no doubt). If Da' Bastards get it, it'll probably a lot cost less. And, what with them being the type of Bastards that they are, I'd certainly not rule that out. But I'm not feeling the least bit shortchanged or otherwise chumped. This is a damn fine issue!

You got the Joe set right. Check the editing I've done on your post. The titles in green are the Jordan ones. The Joe titles are in your bold. What's left is by Carmel. I repeat - the Jordan cuts are superb. The whole thing is excellent ( and the arrangement on "Chelsea Bridge" is really nice), but those Clifford titles are my favorites.