JSngry

I thought that this thread was going to be about Bobby Bland and Junior Parker...

A spitting Chicago tenor player with a government job - god, I'm loving this cat already!

I know it's not the same, but it often takes me a few bars to tell the difference between "My Old Flame" and "Don't Blame Me" if I'm not playing them and there's no lyrics.

EGO is pretty damn good. It should be much better known than it is. THE OLD BUM'S RUSH is shaky at times, but still something you owe it to yourself to hear. My sentiments exactly.

Just recieved confirmation from Dusty Groove that the two McDougal LPs on the Grits label are coming my way. Sounds like there's some fun in store!

Now THAT would be sonmething I've never heard, nor heard of. Thanks for the tip!

Save some of that jizz for if you get Warne @ Donte's (1976?) w/Art Pepper sitting in, and save a bit more for when you get Warne & Foster w/Anthony Braxton sitting in (1972, I think). But if you already have them, jizz away!

Have you heard Vernard Johnson? Gospel altoist out of Fort Worth? None too shabby!

From Dusty Groove (the BASTARDS!): Brigitte Bardot -- Nue Au Soleil -- The Lost 70's Album . . . CD . . . $16.99 (Item: 82450) Universal (France), Early 70s Condition: New Copy Funky Brigitte Bardot -- the kind we like the best! This wonderful set brings together a bunch of rare tracks that Bardot cut in the early 70s -- a scattering of singles, soundtrack songs, and unreleased tracks, pulled together to make a fantastic Lost 70s Album! The sound here takes off nicely from Brigitte's funky work with Serge Gainsbourg in the late 60s -- with some slight baroque touches, lots of cool instrumentation, and an angular approach to French pop that makes for lots of skittish little grooves and sly rhythmic progressions. The mode works perfectly with Brigitte's sexy vocals, and the album's easily some of the best work we've ever heard from her -- offering up a new delight at every turn! Titles include "La Fille De Paille", "John Et Michael", "Je Voudrais Perdre La Memoire", "Quand Mon Amour Danse", "Mon Leopard Et Moi", "Chacun Son Homme", "Soyons Deux", "C'est Une Bossa Nova", "Vous Ma Lady", and "Tu Es Venu Mon Amour". I think I'd like me some funky Brigitte Bardot too, just not on a CD....

T-Bone Burnette & Sam Phillips?

Jeff, if you have Jesus, you don't need "Christianity". Probably better off without it in fact, since far too often it's an arbitrary layer of seperation that has no justification other than to keep the patrons in line and the management paid. Cut out the middleman and buy direct, I say. It's a significantly better deal. Just my opinion as a Jesus-believing non-"Christian", of which I suspect there are more than might be imagined. Maybe we should all get together and form a church!

The only time I actively seek validation is when I play a gig at a hotel and the parking's not free. Now, PLEASE check out the Frank Hewitt CD I raved about HERE.

Mr. Luke Kaven, the producer/owner of this record and this label, mentioned this CD in passing a while back in the Gil Coggins obit thread, and his description of Hewitt as some sort of underground bebop legend caught my attention. I went to the CD Baby website, checked out the sound samples a few times, and they REALLY caught my attention. Finally ordered the CD, and I have to tell you - this is some REAL stuff. Hewitt sounds to me to have be firmly in the lineage of Elmo Hope & Hassaan Ibn Ali, players who were "pure" bebop in conception, and players who followed their muse the very second it spoke to them, even if it was telling them to play "wrong" chords and lines that at times were more shapes than harmonic delineations of the chords. There's more than a few times on this disc where Hewitt plays a change (or a series of changes) that on first listen appear to be TOTALLY wrong. But a deeper listening reveals that HE knew where he was, and that he never went anywhere that he couldn't get back home from. Some of these changes are actually very astute and erudite theoretically once the shock wears off and their logic becomes apparent, whereas others seem to be the "just because" answer to the "why did you play THAT?" question. It's an answer that is legitmate only if the player can offer proof that they aren't dicking around, and Frank Hewitt most certainly was NOT dicking around. Frank Hewitt was PLAYING! (and looking at the 3-star AMG review, I can only conclude that the reviewer had either a different record or a different set of ears than mine). This music virtually REEKS of "the street", and for somebody like myself who has had more than enough whiffs of the scents of "jazz by the numbers" as played by well-groomed schoolboys, calculating careerists, and other walking corpses, it is a smell that I breathe deeply, thankfully, and with unbounded giddiness. Hewitt sounds like he's LIVED this music, not "learned" it, and if occasionally, like on "Cherokee", his right hand seems to be running to keep from crying, so be it. The street is what it is, and although admission is free, the cost is nevertheless steep. If it's "perfection" one wants, there are innumerable places to find it. But if one wants the uncensored flavor of life, jazzstyle, one must be ready to accept the fact that life is not perfect, and that their are musicians and musics that make no attempt whatsoever to avoid that fact. I think it's safe to say that Frank Hewitt was one of those musicians. If you find later Bud Powell gripping, if you find Elmo Hope's later work compelling, if you know the difference between jazz as a style of music and jazz as a fact of life, then DO NOT MISS THIS RECORD. Available HERE. HIGHESTLY recommended.

So this would mean there's some tracks missing from the Mosaic, but the Mosaic also has one track not reissued elsewhere? ubu What it means is that there are a fair number of alternate takes that Cuscuna decided not include because he (according to his response to a letter that I wrote in protest) felt that they were "substandard". FULL takes, if I remember correctly. Perhaps. Producer's perogative, protecting the legacy, and all that. BUT - I bought a set of incredibly important music called "Complete" that boasted of the extraordinary amount of previously unissued material. To find out that it was less than complete upset me a little bit. If it was a matter of false starts, or if it was somebody and/or some session a bit less "important", I'd have been less bugged. But it wasn't. But it's cool. I still buy their shit every once in a while.

He was on an episode of Miami Vice too. Not a bad actor.

Yes. http://allmusic.com/cg/amg.dll?p=amg&uid=U...l=A39ktk6jxekrh

Listed in order of my preference, although the gap between the three is in no way large.

Ok, it was Geoff who was "ashamed". I think he means that he's a bit "ashamed" to post here because he came on too strong with his "expertise", and got called on it (but usually in a friendly-if-tough way, as I remember) more than once. Geoff, I said it then, and I'll say it again - you're on the right track. WAY so. Making your "mistakes" now is how you learn. The only thing to truly be "ashamed" of is NOT learning from them. If, on the other hand, you mean that you're ashamed to post here because of the collective ignorance in the face of your brilliance (and I don't think you do, but I gotta cover all the bases here), well, that's ANOTHER mistake you're making. As for the "lurker", who knows, and who cares?

Wouldn't hurt...

Imagine what it must have been like living it.

And as for the "all they talk about is hardbop" shit, well, yeah, SOMEtimes, but by no means always. I get as weary of it as anybody, but that's far from being the only type of music that gets discussed here. Pay attention.

This whole "Board X a bunch of blahblahblah" shit is really getting tired. Community is cool, but get real - this is a CYBER community, not one that you have to really freakin' LIVE in. Enjoy it for what it is, ignore what you DON'T like (and I haven't had much real interest in the political stuff for quite a while now), and let it be. "Feeling ashamed" about posting to this, or any other board is just TOO wierd. The diversity of the posters here, and the topics/interests they bring, are what appeals to me, as is the availability of genuinely deep musical experience. With diversity comes "personality", with "personality" comes "color", and with "color" comes the potential for somebody to get pissed off if they can't handle a world other than their own. So this board has some lively, fiesty, and randy personalities afoot. Boo fucking hoo.

My sentiments exactly. I'm of the genereation that still had the opportunity to hear the older big bands in person, but as "events", not as part of the fabric of everyday life. In other words, I got just enough of a taste to know what it is I missed.

After one year doing the slave thing, I haven't gone postal yet, which I attribute to Working a night shift, where "my kind of people" (or the "real world" equivalent) are more likely to be found Having a team leader who's from Kenya (and REALLY into Fela) who has that stereotypical "African" deep respect for music and musicians, just on general principles. (and "stereotypical" or not, it's a cultural characteristic I've seen WAY more than once, and one that I hope gets inculculated into the American mainstream as this genteration of African immigrants takes root and makes their mark). On top of that, he's highly intellegent and politically hip, so I don't have the usual "my boss is an idiot" scene to deal with. Quite the opposite is true, in fact. The ability to listen to whatever I want (on headphones) all night long, without anybody fucking wtht me. Anything. And I do. Take away any of those factors, and all bets are off.

I saw Norah a few weeks ago in Plano, and she was driving a VW Passat while talking on a cell phone. So, I don't think she deserves a place on any list dealing with safe driving.