JSngry

None received from you...

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You think that this might have been another one of Don Elliot's pranks?

Considering that B&W photocpying is dirt cheap, and that it'll only take two 37cent stamps to get two copies in the mail, I'll send you both one.

Booger sammiches w/snot mayonaise. Times is tough.

I don't have a scanner, Mike, but PM me w/your address and I'll send you a xerox of it, ok? Assuming I can find it in my closet, which is always a crapshoot...

These are the real Gold Dust twins: Seriously, and just so "you" (as in those who don't fully understand the reference) know.

Didn't catch that those comments were made in 1982 (my bad - literacy is a beautiful thing. I should try it sometimes!). That makes a lot more sense, then. BTW - anybody interested in the Dark Ages of Organ Jazz are referred to a late-70s article in the short-lived but highly impressive JAZZ magazine that was written right in the middle of it, and which gives a contemporaneous (and depressing) account of how bad things were at the time for all things B-3.

I'm w/Mike on this one. Took me a few weeks to get over my disappointment at expectations (mine) not being met, but once I did, hey...

Also heard a live accoustic thing he recently did somewhere in SE Asia that seems to have slipped completely unde the radar. It's an actual commercial release for some label somewhere (not U.S. obviously), not a bootleg, but I can't recall the details right now

JSngry does not accept these findings, and his PM box is full.

Yeah, but considering my occupation, I'm being prematurely retired, and quite against my will.

Not sure about that, Aric, but a lot of smaller independent labels settled w/the AFM before the majors did. That's where a lot of great small group jazz w/then-emerging bebop players first got documented. I might be wrong about this, but some of those labels maybe even got started as a result of the ban - some enterprising individuals saw a void in the market and went about filling it by meeting union demands so they could go ahead and start making/selling records again.

Groove came back to record some things for Muse in the 1970s(?), but yeah, he seems to have been shut out overall. Whenever this happens to a player who once had the kind of profile that he once did, there's usually a story of some sort, and often enough there's more than one side to it, none of them pretty. But I've not heard anything specific about this case.

I've been involed in some EAI work myself (Cap'n Sambeaux's International Adventure Tours), and find it to provide a type of creative headroom that trying to play jazz styles of yore doesn't necessarily offer. Of course, with both styles, it depends on the players, and I myself am not too comfortable working with players (or music) who aren't strongly rooted in a strong awareness, at least, of the styles and techniques of the past. "Noise for the sake of noise" just doesn't interest me at this point of my life, but finding/exploring new ways to improvise and new contexts/mindsets to do so does. With all due respect, Kevin, I think it's a perfectly valid form of music and see no reason why you should want to block a discussion of it here. We can all think for ourselves, thank you.

I hope that Mr. Falco passed the info on to BN, and that the widow Willette received those back-due royalties. Wow, Greg, you solved the mystery after just one listen to FACE TO FACE (albeit 3 or 4 to "Whatever Lola Wants" l) ). Yeah!!!! Oklahoma works in mysterious ways!

I read about it when Rolling Stone did a feature on Lewis sometimes in the early 1980s. Never thought that it would see the light of day. but now, if there's the beginning of an interest...

Johnny Lytle?

Enjoy! (And tell others if you do - this one's not yet generated much heat in these parts, and that, my friend, is just plain wrong!)

Where'd you get this?

NO S**T!!!

Again, about 20 years too late.

Or the nice stuff in front of her either.

The first ban/strike was a great victory for the professional/union musician. The MPTF (Musicians Performance Trust Fund) is still in full gear today, providing entertainment to many civic events at little if any cost to the municipalities. If you go to a "City XYZ Arts Fair" or some such and there's live music being played throughout the day and into the night, odds are good that it's being provided by the MPTF. The musicians get paid (scale) through the union and get exposure to the "general public", plus the city gets to hold a festival that is enjoyed by many, across demographic lines. win-win. If your city has something like this, odds are good that you can thank the AFM MPTF, and for THAT, you can thank the first recording ban. Plus, the MPTF provides many similar services for schools, hospitals, senior centers, etc. The other two bans, I'm afraid, were less focused, less successful, and were a contributing factor to changing popular taste, especially the one of 1948.

And that's when the big bands will come back.