JSngry

I see that he was signed to Verve in those days. I know next to nothing about the man or his music (obviously), but the AMG bio paints the picture of him as being somewhat of a "pioneer" of Italian modern jazz, so I guess he does go back a long way. The few things I've heard recently have all been from the last few years, and, frankly, I had him pegged as more of a Swing or post-Swing player (again, the labels begin to blur) along the lines of Guy Laffite, only smoother. Whatever he is, he seems to be lacking in pretense. Nothing "heavy", but a gorgeous tone, a good swing, and, like I said, a Lockjaw-influenced phrasing at times (which is what really caught my ear, since that's such a rare thing to hear out of anybody). The cat can definitely play.

Geez, it's friggin' Buddy Rich in friggin' Miami. We can all write our own scenerios. I've heard that side, Weizen, and contrary to whatever sarcasm you might think Chuck is conveying, that's about as succinct a summation of the music as there is. Even by Buddy's standards, it's hyper. My scenario includes massive quantities of cocaine, unpaid ex-wifes, gambling debts coming due, and drunks wanting to hear "In The Mood", but I'm afraid I tend towards underestimation.

Beware - many versions of Limewire are LOADED with spyware, some of it quite cumbersome to remove. One of my kids put it on the computer (w/o permission, of course) and it took me just a second to remove the program, but about 4 houts to clean up/off all the spyware it installed.

Paul Bley, if private recordings count.

82 is old, period, but here's hoping for the best.

One piece of friendly advice - get Roger to talking, and listen, no matter where he goes wth it. Nuff said.

Well, if that's not a stirring recommendation, I don't know what is!

Just now discovering this delightful Italian mainstream (I guess, labels get kinda blurry after a while) tenorist who's got a touch of Lockjaw in him (no tetanus jokes, please!), and was wondering who else was hip to him, what their impressions were, and what recommendations might be made as far as recordings. Thanks!

Absolutely, and it is appreciated. Thanks! Although, comparing anything to Riddle's work with Linda Ronstadt is like using Willie Mays' career with the Mets as a baseline for comparisons with any other player. Hell, even Mario Mendoza looks halfway decent then!

Always avoided this one, and had ample opportunities to do otherwise. How is it, anyway, all things considered?

No record stores in the after-life? I like to think so. In heaven, royalty checks get delivered on a regular basis.

The least popular, I'd guess. I didn't even discover in until 1979, long after all the others, and only then when a "friend" put it on before bedtime, if you get my drift...

The Old School Soul singers sang what they knew. The New Breed seems to be singing (often quite well) what they heard on records. Different times, different world, and a big difference from where I sit.

Roger Boykin is an all-around badmuthashutyomouth. Guitarist, pianist, saxophonist, composer, conversationalist, disc jockey, you name it. One of my very most favorite local musicians, by a wide margin. Tell him & Marchel that Gomer says hey (or words to that effect ). For once I wish I wasn't gigging this Friday. I'd make the trip. A no-brainer as far as I'm concerned!

Well, it's those "subtleties" that I'm asking for help on. They must be so subtle that I'm missing a lot of them. Compared to Riddle's greatest work (as opposed to Riddle's "ordinary" work, which is admittedly most of it), what I've heard of Farnon certainly sounds masterful, to be sure, but lacking in that extra "creative insanity", so to speak, that I keep expecting to hear (and which I definitely hear quite often in Ogerman's work). Which is why I was asking for technical specifics. I do speak the language, you know... But it seems that none will be forthcoming. One guy's not equipped to do so, and the other doesn't seem to be disposed to do so. And if the preference is for Billy May over the Riddle of, say Only The Lonely, or Love, then what we might well have here is a matter of personal preference anyway, in which case, that's that. Oh well, I'll keep digging on my own. Always learned more that way anyway, in the long run. Thanks anyway.

All the cool kids smoke.

What if you're a critic who likes greasy?

Phil, how would you contrast/compare Farnon & Riddle in terms of actual techniques? My exposure to Riddle is far greater than to Farnon, but I seem to "hear" Riddle better, perhaps just through familiarity. But I wonder if it might also be a matter of differing techniques. Assuming that you don't mind giving a free lesson over the internet, that is...

I used to have an album on Project 3 Records that he led, Look Toward A Dream[/I]. The band was Lawrence, Larry Coryell, Richard Davis/Hal Gaylor/Carline Ray on basses, & Roy Haynes on drums. It was a big sloppy mess, but it certainly was also unique. I give him credit for taking the chance on something like this rather than making just another bop record that would have been neither here nor there. This one was THERE, if you know what I mean, but still, I admired the intent, and to tell the truth, it was Coryell's out of control caterwauling (on guitar and vocally) that made the album a lot worse than it would have been otherwise. Probably doesn't sound like I'm trying to say something good about Lawrence, but I am. He wasn't afraid to go someplace out of the norm, and I respect the hell outta that.

I would STRONGLY urge you to, as budget permits, delve deeper into the Teo Macero catalog. Frustratingly amaturish in terms of packaging, annotation, and duplication of cuts between some albums, but there's some meat in there, baby, some REAL meat. GrrrrrRRRRRRRRRRROOOOWWWWWWWWWWLLLLLLLLLLLLLLLLllllllllllllllllllll!

Probably not, but what a wonderful word it would be if that were so!

Ordered both Frank Hewitt CDs from them, as w ell as shitload of Teo Macero discs, and maybe a few other things. Excellent service. The confirmation e-mail was cute the first time (and I really don't like cute...), and has become increasingly cloying with each repetition. However, it's not confirmation e-mails that I'm buying from them, so it's all good.

Find the 1977 Savoy/Arista Fat Girl double LP set (SJL 2216). It's complete (as far as I know), and has 4 as-of-then previously unissued alternates. Typically fine liner essay by Dan Morgenstern to boot. Overall, Arista (and later, Muse) did Savoy about as well as it's been done so far. Those LP facsimilies of a few years back are fun to look at, but woefully incomplete and/or disorganized a lot of the time, notably on the stuff that was origingally 78s.

How much luck is there, anyway? If "some people" have all of it, that means that we know how much there is, that it's a finite amount and there ain't no more to be had. They ain't making any more land, and they ain't making any more luck, is that it? I, for one, am skeptical.