JSngry

Second listen is as we speak. Have not read any other comments. TRACK 1 - "Summertime". I'm thinking that this is Gene Harris, and more than that I'll not say. WAY over the top by the end, but done the way that over the top should be done - all the way and without shame. No harm done in my book! TRACK 2 - Wasn't really doing anything for me until Fathead came in, and then didn't do too much more, unfortunately. The tune is reminiscent of "Delilah" in spots, but it's not that. Nobody's doing anything wrong, it jsut doesn't hit my "zone". I dig laid-back, but the groove on this one seems laid-back w/o the requisite pocket, it just sorta hangs there for me. Oh well... TRACK 3 - "Jeannine". What a GREAT tune! And not a bad tenor player at all! Sounds like a younger guy playing older, but not blatantly imitative, more like this is the vibe he digs, and this is the vibe he's gonna play, and he'll find his own niche in an already crowded pantheon, even if it is small and relatively insignificant in the big picture. Right on with THAT! But....he deserves a MUCH better rhythm section (or maybe he doesn't, if this is one of his on choosing...). I hear him doing all kinds of subtle ins and outs with the accents, and the rhythm section SHOULD be sensitive to them, but they're not. They just "groove" away, and as a result produce counter the result that they think they're getting. Especially that drummer; he could be playing what he plays for anybody on any tune on any session - SOMEBODY STOP HIM BEFORE HE DOESN'T LISTEN TO THE SOLOIST AGAIN!!!! Much love for the tenor player, considerably less so for the rhythm section. TRACK 4 - Is this "Ease On Down The Road"? I'm pretty sure it's Plas Johnson. More than that I can't begin to guess. Plas Johnson is a BAAAAD man!!!! This is the type of playing that's going to sound EXCRUTIATINGLY corny if it's not real, and Plas Johnson is VERY real, having played in ALL kinds of commercial situations and always maintaining his individuality. Major props to Plas Johnson! Reat of the band is competent (more than competent, really) but doesn't have that personal thing going, although I'm digging the bass player just fine, thank you. But hey - this is Plas' show so forget about them! TRACK 5 - "Chicken Shack", obviously. Virtually an ANTHEM that puppy is! No clue who it is. Tenor plyer has elements of both eddie Harris and Stanly T, but is obviously neither. Kinda predictable, but that's also kinda besides the point with this stuff - it's all about playing the blues and keeping it real. Nothing I'd go out of my way to get, but nothing I'd even think about getting rid of if I did. TRACK 6 - "Jumpin' The Blues" aka "The Jumpin' Blues". Benny Carter moving around while he plays! Sounds like Hootie si ownself on piano. Carmell Jones on tpt?The tenor player sounds VERY aged, but he also sounds like he mighta been a hell on wheels R&B stylist in hia prime. I could almost give Buck Clayton credit for the chart. It's old folks feelin' frisky, and I'm always good with that! TRACK 7 - Wow, a blues! The recording of the organ sounds like some things on King I've got/heard. Tenor has echoes of Budd Johnson. Can't really hazard any guesses, though. This is some real stuff. TRACK 8 - Think I've heard this tune before, but can't call it. It's a bues... Everybody sounds familiar, but no names are clicking right now. Definitely some vets on the horns, but not OLD vets. Middle-aged, I'd guess. Tenor player sounds REAL familiar, I'm gonna kick myself when I find out who it is... Good, fun stuff, and some slick (in the good way) playing by the horns. TRACK 9 - Buddy Tate? I think so! Somebody else... not so subtle, he is. Houston Person! I KNOW so! Major Holley. Yep. Shoulda redone that ending, though. Buddy deserved better. Come to think of it, somebody (not Dan) sent me a copy of this album, but I've yet to listen to it, if it's what I think it is. I think I need to listen to it! Buddy Tate was always cool, seems like the older he got, the better he got (I found him just a tad stiff on those Basie sides, but Herschel Evans was a tough act to follow). Tenor #2 is a good player, but not of the same calibre of Tate & Person. He tries too hard. The same could be said of Person for much of the first part of his career, but he's gotten over it just fine. TRACK 10 - "Willow Weep For Me". From what I've heard of Bubba Brooks, this sounds VERY much like him. Bubba wasn't a real "technical" player, nor was he a particulaly creative one, but he sure played with a lot of feeling, and that works for me most any time. Definitely somebody that people interested in the lineage of the tenor, and of big-tones, blues-based tenorists in particular (actually, on everything I've heard by him, he sounds more like a vintage R&B player who's playing tunes than anything else, and oh, for the days when the lines between R&B and jazz weren't as clear-cut as they are today!) should be aware of! Rhythm section is generic, but quality and effective. Yeah, Bubba! The number of consecutive 12 bars worked against the overall effectiveness of this disc, I think, but the individual cuts, except for #2, are all worthy of merit as excellent examples of the type of jazz they are. I enjoyed them very much. Thanks, Dan! Now, to read other's comments and see how many I missed!

This sounds (literally and figuratively) like something that Dick Hyman's involved in. The vibist is DEFINITELY a ringer!

I done went and boughten me a used ellapee copy and the dang-gum ol' sucker ain't got none listed. It's a poromo copy and they's not lsited on the jallaket. It ain't thet gret a rekkird, but what the hayul? I'd likes to knoe, thankya kindly. Kenyahepme? As allus, thankee in ed's pants.

But I'm a tough nut to crack, so to speak,,,

http://www.dustygroove.com/jazzcd5.htm#357705 And I quoth: Reuben Wilson & Others -- Boogaloo To The Beastie Boys . . . CD (Item: 357705) Scrufflin, 2004 Condition: New Copy A rich set of funky jazz workouts of Beastie Boys tunes from B-3 legend Reuben Wilson -- leading a wonderful quartet with Andrew Beal on sax, Doug Munro on guitar and LaFrae Olivia Sci on the kit! The groove runs from laidback and lightly funky, to midtempo 70s cop show soul, to straight up deep funk riffery -- done in a way that lets Reuben and crew jam however they're feeling it -- and not always corresponding the style the Beasties sampled and/or played on their own recordings! The set list is deep and surprising, too -- cuts like "Namaste", "Hey Ladies" and "Something's Got To Give" (featuring Bernie Worrell on Rhodes) are ripe for this kind of interpretation -- but tracks like "Cookie Puss", "Egg Raid On Mojo" and "Intergalactic" -- original compositions that ranged from punk, to electro, to just plain manic -- are adapted just as strongly to funky jazz. Other tunes include "Sabotage", "Shadrach" and "Shake Your Rump".

Effective but less flashy teamwork at the expense of less flashy but more showy individual play is SO pre-late 20th century...... And not just in sports, either. Can't stress that enough - the athletes are just reflecting a society where everybody wants to be a star and doesn't seem to care what they have to do to be one.

Yeah, and Charlie Watts played the tenor solo on "Waiting For A Friend"!

10 - Avid Jeff Gordon fan! 9 - Ran Benny Goodman's rehearsals from 1959-1961! 8 - Taught Paul Harvey everything he knows! 7 - Shot a man in Reno just to watch him die! 6 - Stole Ava Gardner from Frank Sinatra, and Debbie Reynolds from Eddie Fischer! 5 - One-time Vice-President of U.S. Chamber of Commerce! 4 - Played drums on "Start Me Up"! 3 - Respected science columnist for the Wall Stree Journal from 1949-1954. Nicknamed "Nuke" as a result! 2 - Has eleven toes! And the number one little known fact about Sonny Rollins...... 1 - Never been fishing!

I smell a rat on this one... Treasure TLP828, Treasure Productions, Inc. Mount Vernon, NY. The label seems to be an east-coast version of Crown, I swear... No personnel listed, but instrumentation is clarinet (alto on one tune), vibes, piano, bass, and drums. Repertoire is all stuff like "Undecided", "Stars Fell On Alabama", "Jeepers Creepers", "Don't Get Around Much Anymore", all stuff that can be swung "litely and politely". And is. Kinda like the Shearing group with a clarinet instead of a guitar. Nothing like the Rusty Bryant jazz sides on Dot that the cover photo of a tenor-playing brother leaning back and blowing had me hoping for, but still, not a waste of $2.98, although $2.99 would have been too much to pay. BUT... There's more than a few things on here that suggest that "Chet Grayson and the Country Clubbers" might be more than just some annoymous giggers who did the date for scale. Everybody sounds like they're "putting on" JUST a little bit, and everybody, the vibist in particular, gets off some licks (and with a swing) that I've never heard in a REAL country club band. And some of the "straightness" seems less than natural, if you know what I mean. So I'm thinking that this might be one of those dates that might have some "lesser" but still "known" jazz names on it. Nothing on the level of the Raymond Scott Secret 7, but still... Does this item show up in any jazz dsicographies? If so, a listing would be much appreciated. As always, thanks in advance! (btw - other artists with albums on Treasure (MAKE EVERY RECORD A TREASURE $3.98 says the back cover) include Rudy Vallee (reading fairy tales!), George Jessell (singing tear jerkers of the not-so-gay- nineties!), Pianola (sic) Pete, The Dixieland Dandies, and Robert Alda (singing songs for Continental Lovers!))

"Waiters a-coughin' with sneezins and spittins Last week's cold leftovers tied up in strings These are of few of my infectious things."

Do people really judge music according to which record label they were signed? As somebody who's more than a little fond of the Verve output of Lester Young, Coleman Hawkins, Ben Webster, Johnny Hodges, Illinoins Jacquet, Bud Powell, Lee Konitz, Jimmy Giuffre, Count Basie, Charlie Parker, Art Tatum, Stan Getz (a lot of it anyway), Dizzy Gillespie, and I don't know who all else (in spite of Oscar Peterson being on so much of it! ), I wondered about that one myself.

I played a gig this past Saturday with a pretty trumpet good player from San Antonio who told be that he was going swimming in some river somewhere a few years ago, and just before he jumped in, he looked up and saw seven rainbows in the sky in some geometrically symetrical patter, with a round one in the middle of it all. Then, he said, three homeless guys showed up out of nowhere, told him that he was looking at "Yahweh's eye", that it meant that God was watching him, and then they disappeared. So maybe God is watching your lunch meat. Can't hurt!

Haven't heard that specific story, but have heard similar tales. Ra ran a tight ship, I'm told, some might call it a "cult" of sorts, and if you did anything he didn't approve of, you did it on the sly. Had a friend who got high on a break w/Marshall Allen once, and Marshall was totally paranoind about "Sunny" finding out. A high profile recording like a Gilmore/Jordan reunion would be kind hard to hide. When Gilmore had that brief spurt of "outside" activity (when was it, '65?) it was because he had left the Ra fold completely. And when he came back, he didn't leave.

Well, there you have it! have what? The reason why so many people are less than thrilled about Oscar Peterson. And, I suppose, the reason so many are. Nothing wrong with what he does or how he does it or who he is or anything like that. His playing just bores me more often than not, because, I guess, he's just being Oscar Peterson, and Oscar Peterson is apparently a person who has little to tell me, musically, that I find to be interesting, much less being worth too much of my time. I have a life, perspectives, and interests of my own, thank you, Oscar Peterson does too, and there's apparently very little common ground between them. I'm ok with that, and I'm more than certain that Oscar is too, or would be if he even had half a notion that I even existed. I'd send him a letter to find out, but frankly I don't really care, not even slightly. We have that kind of relationship, Oscar Peterson and I do. Can't like everybody, nor should you. Different strokes, and all that.

Well, there you have it!

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He's more than just a "Latin-Jazz Pianist", he a pioneer amd legend who's been around as both for over 40 years. Go to Descarga.Com and see what's available. THE SUN OF LATIN MUSIC & UNFINISHED MASTERPIECE (both originally on Coco, and both now on CD, I think) are perhaps his crowning achievements, afaic, but I'll listen to the guy any time, any place. Charlie, his brother, was no slouch either.

Or maybe he thought that I was saying that homosexuality was a choice. That would be understandable, given my imprecise communication, but it would not be what I meant. Again, it's about the mix of the fixed and the fluid forming the whole - not of creating barriers of "either/or" that do noting but create the same old same old over and over again. I believe, based on what I know, that sexual oreintation is first and formeost a matter of biochemistry, and is no more a "choice" than being right- or left-handed. That's the fixed. No "choice" there. But after that, all that's left is fluid. There's all kind of choices to be made (as there are for heterosexuals), choices of how the individual will handle their sexuality, and choices of how society will respond to it. Like it or not, all these choices are interconnected at some level/point, and in their degree of nuance/extrmety, these choices are darn near infinite. Some things there are no choice about. But there are choices about how we respond to those things. That's what I meant.

Thanks, Larry, but at this moment, I'm liking "glorication of the obvious" (from this thread) better... (and for the record, there are many more moments of OP's comping that I find satisfying than there are solos) (and yet agian for the record - no postcoutnpadding at this moment - I don't disregard/disrespect/get bugged by Peterson's virtuosity. That's not the "problem" for me at all. The guy seldom strikes me as somebody who puts a lot of DEPTH into his music, be that depth emotional, intellectual, whatever (and sure, depth is relative and/or subjective, so one man's obvious might be another man's revelation, and for each that is the right response, I suppose). That bugs me no matter what level of skills are on display. It sounds like a lot of what he plaays comes too easy for him, and I'm sure that technically it does. But there's that "obvious" thinkg again. I'd like to think that what he was playing had been at some level, at some time, been "examined" before being brought forth, and I just don't get that. Or if it has, there's a huge disconnect between what Peterson feels is "relevant information" and what a lot of other musicians, jazz or otherwise, do.).

I reaching the age where I'm prone to lose everything but weight. Thankful for small favors, I suppose...

Zawinul's MY PEOPLE followed by his THE RISE AND FALL OF THE THIRD STREAM. A revealing experience, to say the least!

Check out Mann's WINDOWS OPENED and the 1972 live at Newport HOLD ON, I'M COMING.

Oops...there goes another fine myth rearing it's head... You don't believe that people have free will as to the decisions they make? Please, elaborate!