JSngry

Don't remember, might have been on Board NoJo, who knows...but just a note to say that I recently got a 1977 Johnny Otis LP from Dusty Groove (the BASTARDS!) called BACK TO JAZZ, and he's the bassist. Hope this has some relevance to whoever it was who was asking whatever it was that they were asking.

I just drink a bottle of cough syrup.

So far...

My Silver shipped today. Cecil & T scheduled for the 26th. Go figure.

DUDE! A good friend just hooked me up with a copy of this, and it's BAAAAADDDD. Clifford's got his burr on real nice, and the rhythm section SMOKES! Probably a bitch-and-a-half to find, but well worth it! I see that nobody's commented on SOUL FOUNTAIN. It's good, not great. If you can find a good deal on it and want something short and hiply entertaining, get it. There's far worse music to buy.

Interview. Be yourself. Be respectful and/but enthusiastic. Be confident but not arrogant. Expect some racial vibes, but don't get thrown by them. Odds are it's a "test" to see just what kind of a white man are you any way. It's jazz - get used to it, because it's really fun once you know what the deal is. It's the people who never figure out what the deal is that are a drag. And if they got that itallendedin1960 trip going on, roll with it. You can learn stuff even from people who are wrong. Just don't expect an immediate shift in emphasis form Jay McShann to Andrew Hill. Ain't gonna happen. But Jay McShann is a world of cool unto himself, dig? If you can apply an open mind and a closed mouth in appropriate mesures at appropriate times, you can teach and learn at the same time, and try beating that with a stick! Dude, what's the worse that could happen? You remain unemployed, right? What's the best that could happen? You get a gig, right? What's in between? Imperfection, right? You gonna get that no matter what, right? Might as well have a gig in the proce$$. And don't never, EVER knock free shit. Like the song says, "The best shit in life is free".

Don't know if Royal led an "official" Basie ghost band or not. I don't recall such, and it's not mentioned in the book (which was published posthumously), but that's not to say that it didn't happen! And yeah, trumpeter Ernie Royal was one of THE leading studio players in NYC from the 50s on, one of those guys who popped up on damn near every NY studio big-band date, including those of Gil Evans & Oliver Nelson, as well as countless annonymous "commercial" dates. Before that, he spent many years on the road w/Hamp, Herman, Kenton, etc. A true master-musician, just like his brother. Check out his RESUME ON AMG.

Artie Bucco & Anthony Jr. need to move in together and live happily ever after.

Funny how that $500 got upped to $1000 only to revert back to $500 by the time it hit the street... Feech LaManna is oldschool all the way and you'd best believe he's got eyes for the top. BIG eyes. Tony needs to feel loved. If this thing ends up like the neo-classic tragedy that some of us have suspected it of being all along, there's the "fatal flaw" right there. It's either going to kill him or drive him mad. Anything less will be a TV-biz-generated copout.

Well hell - were it a candidate, I'd vote for TATOO YOU just for the presence of Sonny Rollins! I like the Stones, and have dug them since '64, but other than TY (HAD to buy it on release for Sonny) and a hologram-cover TSMR (which I only have because I FOUND it lying on a NYC sidewalk at 3 A.M. back in 1979!), I don't own any of their albums or singles, and see no real need to. I've heard that stuff continuously for almost 40 years now, played a fair portion of it for over 20, and I KNOW what it sounds like! It's the kind of thing that I never object to having somebody else play (either on the radio, in the car, at a party, or on the bandstand), if you know what I mean, and there's no shortage of opportunities for that, even now. Hey, they kick ass. They really do. Good for them, let the good times roll, and I'll spend my money elsewhere. They're doing fine without me.

Found this one last year at Half Price Books, finally got around to reading it, and it was such a good read that I went from start to finish (134 pp + the usual discography/filmography/etc. at the end) in a single sitting. Royal's story is a fascinating one, and he tells it (with the assistance of one Claire P. Gordon) succinctly and matter-of-factly. As one might suspect from Royal's musical accomplishments, it is a stroy of pride, personal discipline, and an insistence on the highest level of professionalism, values which were instilled in him at an early age, and values which he put into practice from Day One. For somebody such as myself, who only really knew the work of Royal from his Basie years onward, this book provides a rich tableau of local jazz in pre-WWII Los Angeles, as well as many glimpses of names who would later become nationally known. Of particular interest is Royal's detailing of his work with Duke Ellington, which goes back to Check and Double Check. But besides that, the list of major artists that Royal crossed paths with in the 1930 & '40s, personally and professionally, is pretty amazing, which is one reason I found the narrative so compelling. The discography might surprise you. I know it did me. There's also a good look at his stay w/the Hampton band, as well as, of course, his lenghty stay w/Basie, including a not-so-flattering portrait of Lockjaw Davis as the man whose desire to wrest Royal's position as "straw boss" away from him finally succeeded. Brother Ernie gets an affectionate, but definitely "older brother"-ish portrait as well. There is no sensationalism in the book, but the facts of life as it pertains to road life are dealt with discretely but unmistakably in a "read between the lines" manner. The discipline and discretion that Royal displayed as a musician are deployed with equal aplomb in the telling of his tale in this regard. All told, a book that goes down quick and easy, but stays with you long after you finish it. Royal was a master at what is becoming a lost art - lead altoist and "concertmaster" of a big band, and his story is one that deserves to be heard as both general musical history and personal documentation of a man whose career covered a LOT more ground than I had previously known. I'd think that many members of this board would find this book to be every bit as much of an unexpected treat as I did. Published by Cassell (London), and found for $7.98 (hardcover). Check your local remainder bins, and carpe diem. Highly recommended!

Excellent choices all, here's two more: Cannonball & Duke - I've long toyed w/the idea of making a CD solely of their announcements. It could/would/should be an underground hit! Ok, THREE more - throw in Rahsaan, too. Same for him - his announcements could (and did) stand by themselves. Screw it - FOUR more - Eddie Harris. And lsat but by no means least, #5 on this two-person list - Dizzy. Not a surfeit of examples on record, but I caught him live a few times and can attest that his stage manner was incredibly entertaining, hip, and for the ages. It's not particularly a mystery why guys like this were able to sustain an audience (and career) that spanned the decades - their personal presentation was magnetic and inviting, each in their own honest way (even Miles'). A lot of players today think that all you have to do is play good and look good (not necessarily in that order), and that the world will then get in line to kiss your ass for being such a Great Artist, and that personal presentation should not be a factor at all. Yeah, sure, whatever.

M! (Roman numeral, that is)

Oh, but it should be one of 4!

Nor did I. She was pretty important in some circles, some of which (Turrentine, Etta Jones) are pretty important to many on this board. R.I.P. indeed.

ADams-Pullen! AWRIGHT!

Shakti?

Congrats! Can I have the spare money you find on the floor?

Although, having the women's toilets designed like a blindfolded man with his mouth open would have avoided all charges of sexism. But nobody asked me...

The lesson - if you get pissed off, you're less likely to get pissed on.

Yeah, that Tom Buckner guy is somebody that I figure if Roscoe digs him, then I should take the time to listen and figure out what his musical "angle" is. Having done that, I can appreciate him, but I still can't like him. Actually saw him in a trio w/Roscoe & Hugh Ragin once, and it's a testament to the power of those two that Buckner actually was not annoying, especially when he was silent.

Mention it to him, work with him on it, but given his age and his natural enthusiasm, don't dog him on it like you would a kid. If he gets even a minor breakthrough, he'll be filled with that much more joy. And if he doesn't, like I said, don't dog him on it, and stress all the other positive aspects that he does have going for him. He's playing (and enjoying it) for the purest reason of all, and that should be celebrated.

Amina Claudine Myers Howard McGhee Roscoe Mitchell J.R. Monterose and of course, in the "only one album, but wouldn't be without it" category... Cal Massey!

FWIW, every time I visit Houston, I go to this used vinyl place that's upstairs in a kinda rickety house (the name & location escape me at the moment), and never, ever, leave empty-handed.

The 2000 Year Old Babe!