JSngry

And who knows what kind of spyware might come along with their software...

C'Est Si BONED!

And believe it or not, I was going to suggest the Swingle Singers/MJQ collaboration for 1), but wasn't sure enough. I used to have that album (on Phillips, iirc, bought it at a pawn shop for 50 cents or something, totally plowed). Listened to it once or twice and literally threw it in the trash. Not my cup of tea... But yeah, that would definitely fit the description.

Again, thanks. Bertrand (or any other D.C.-ers), do any of these names ring a bell?

Pretty sure it's Tolliver's baby now. I heard "rumblings" back in the day about him not paying. Charles Sullivan, I think, even filed suit to get his album back. It was then reissued on Inner City. Seems like I heard other tales from other sources as well. Now, understand. I don't know enough about the details to know whether or not Tolliver ever intentionally ripped anybody off. For all I know, he might have had problems collecting from distributors, and/or any other number of problems that could have created a real cashflow problem, for which he ended up taking the heat. I honestly don't know. But there was some not-too-private bad blood surrounding the dissolution of the label, iirc.

Thanks, as always. Other than Clarke, none of those names are familiar. Anybody got any details? (and yeah. I looked at da'bastids. DAMN them! )

Well, couldn't you say that given the date(s), and the lack of any real competing vison, that this WAS bebop tenor, at least at the time? Maybe throw Lucky thompson in there too, but Lucky was coming out of Byas as well. The maxim that Byas played like a Bebopper but accented like a Swing player is true enough, but hell, what other tenor players were hip/smart/facile enough to hang at the time in question? This was discussed a while back, but the notion/evolution of "bebop tenor" is nowhere as simple as it is for other instruments.

Heard a cut off of this the other day, and only got the name "Charles Hampton". Details of the album, and any info about the players would be much appreciated. As always, thanks in advance!

Not even those by Al Berg?

And Sonny Rollins said that Max was afraid of HIM before he cleaned up, so how bad was Sonny?

Well, yeah. See, I'm NOT made for TV!

Wayne. But with him, it's not a soprano. It's a voice.

Yeah, only more psychedelic. Tell you what, to a 12-13 year old boy in rural East Texas, it kinda spoiled the Merlene Thorirons at school the next day. But there was one chick - Kathy Williams - who was INTO that whole Mod look. Had the ironed hair, the patterned staockings, the little butterflies painted on her cheek, ALL that hip, groovy stuff. EVERY damn day, too. She could've easily been my babe once I got old enough to drive. But she was all into crank and shit by then. I tell you, living in the country's a BITCH!

No man, those are the lyrics to "Chameleon". BASS: This is for you you you This is for you you you (repeat) SAX: Theone yousome times for-get Forget to be good to... Good to Etc. That Herbie, man, he was MADE for Tv!

Dude, the models in those commercials were Carnabylicious, if you get my drift...

Well, ok - it's the opening solo of the first song on Side Two.

Wondered about this myself, Joe. I only remember Yardley's commercials from The Monkees NBC run, and by then, they were using Donovan's "Wear Your Love Like Heaven". At least as far as I can recall.

I actually think your comments fit with Dave's. I'm hearing Dave's reference to the "second chair" more in regard to notoriety and public recollection than musical achievement. Well, ok. but from all accounts, Byas's was a rather, uh, "confrontational" personality. If he'd have stayed in America, he might well have had the "crazy" reputation of a Mingus. If he didn't get killed first...

No, but he plays a variant of it. That one also has a SUBLIME vocal by Helen humes on the same tune, so it's a "must have" as well. The one I'm taling about is to be found here: Byas, like many players, seems to have had a bit of a "routine" on the tune, with certain key points of the solo built in. But not exactly, as you can hear by comparing the two versions. More like "signposts" along the way, if you know what I mean. But the one on the Esoteric/OJC is perfect. Absolutely freakin' PERFECT. It's the sound of a man who knows both the tune and his horn inside out performing with total command of each. Pretty amazing stuff.

Jesus, Chuck, when you die, can I have your memories? Not that there's a rush or anything....

You gotta remember that for a while there, when Dex was still playing like a Prez clone, before the Brothers came to the fore, and before James Moody & Sonny Rollins started playing Bird on tenor, Byas WAS bebop tenor. Once all that other stuff happened, his seemed to have become the road less travelled. Then he expatriated, ahead of the curve in that regard, really. And that was that. Every now and then the odd recording would pop up in America, but never a full album (not that I know of, anyway). He was a man forgotten, with a style seemingly no longer relevant. But the influnce lingered on. You hear, say, Benny Golson, and you hear LOTS of Byas. You here any number of so-called "swing-to-bop" tenor players, you hear LOTS of Byas. Truthfully, you listen to some of Hawk's more "aggressive" things, and I think you're hearing a response to the technical/intellectual challenges laid down by Byas (and there's a 50s JATP in Europe thing w/Getz, Byas, & Hawk all together that seems to bear this out, at least to my ears). The public might have stopped listening, but a lot of tenor players didn't. Sorry, but I don't buy the "second chair" bit. Don Byas was a MONSTER.

I dunno, I kinda dig chicks in tuxedos. But then again, I'm not a gay penguin.

Unversal Music Group - VERVE No Bill Evans stes at this time, though. A good deal on the Bird Box, however,,,

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