JSngry

Maybe I'm having a brain fart, but I remember seeing one with a solid black strip about 1/4 way across the top with his name and that of the album, and then a photo underneath. also seems like he went by his full name, Grasella XXXXXX Oliphant, or some such. Maybe I'm wrong...

Maybe that's why she didn't come.

Ain't that the truth!

Oh, I hear you. You mean how Warne vibed Tabackin about playing "the black way", meaning imitative. Funny, but he seemed to have gotten along great w/the every-bit-as-much "black"-rooted Christlieb. Go figure. You never know what kind of stuff goes on between personalities, or what kind of attitude they bring to the gig with them on any given day.

I think it was recorded with a Steely Dan-eque "cleanliness" in mind, but that's just a guess. What bugged me was all the compression (again, just a guess, I'm no engineer) they put on the horns. Just plain ol' butt-ugly. But it seems to be gone now. Jim, Levy sounds fine here, I think, and also contributes some short but nice reminiscences to the liner note addendum.

You ever heard Mat Mathews? http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Bu2jv7ipjg74r

Yep.

Did Ra ever use Theramin?

Bad context for the instrument (I don't really like those Ray Draper sides either). As a solo instrument in a Dirty Dozen-type context it works quite well, and there are some awesome players in those bands. Leave us not forget Howard Johnson either. (and same here, Draper does nothing for me either)

I think SEVEN STEPS might be a "sleeper" of an album for some, based on some of the comments here. But I've always enjoyed it immensely - the very beginning of the Second Quintet coupled with some gorgeous ballads w/Victor Feldman (what they do to and with "Basin Street Blues" is nothing short of miraculous, imo). I've been burnt out on "Joshua" (the tune) for a while now, but this version still works for me, and I can't imagine how the title tune & "So Near, So Far" must have sounded the first time out of the box to contemporaneous ears (TONY!!!!!). Maybe not as "important" an album as what was to come, but deeply rewarding nevertheless, at least for me.

Controversial? How so, Ron? Haven't heard that, not yet anyway. And yeah, the sound has been REALLY improved. This one was a bit of a "sensation" in my circle of friends back in ye olde college days, because for most of them, it was their first exposure to Warne. Major label, etc. But DAMN did the sound bug me - it didn't sound like Warne at all, but more like a chariacture of him (that and the occasional Becker/Fagin (I assume) induced massive overdubbing on one cut that's just WAAAY over the top (even if it does take the Clare Fischer chart on "Lennie's Pennies" as inspiration, or so it seems to me)). WARNE OUT came out not too long after, and I played it for some of my same buds, and their reaction was "Oh, so that's what he REALLY sounds like". And trust me dude, those two bonus cuts I mentioned are BAAAAADDDD!!!

Was he gay when he fathered Graham? Or did the direction Graham took in his music make him swear off procreation? And do I care even the slightest one way or the other? Can't answer the first two (although I'd answer the second with "wouldn't blame him if he did"), but the answer to the third is "no". Sorry. How about Wilmer and the Dukes? I'm wondering if DEEP ever crossed paths with that organization (or its members) back in the late-60s?

Just out on WB. Sounds like they got rid of the godawful compression that made listening to the old LP a bit of a "challenge" for me. So that's one piece of good news. But the REAL news is w/the three bonus cuts, two of which are significantly "better", I think, than some of the things that made it to the original - "Love Me" & "How About You?". Great stuff, truly great. Warm, deep, and ferociously swinging. Between this one and Chuck's forthcoming reissue of ALL MUSIC, anybody looking to get into (or deeper) Warne is gonna be well-served.

Probably so, but it sure makes for a good prop!

I was going to say bagpipes, based on Rufus Harley ( a decent sopranoist, though), but then I remembered this Ayler bagpipe cut on MUSIC IS THE HEALING FORCE OF THE UNIVERSE that totally zones me, so I guess the answer would be "none". I agree, it's the player (and the setting), not the instrument.

Maybe you should invite me over for dinner! I'll leave as soon as the meal is over, I promise.

Was Una Mae Ravi Shankar's father? I see a resemblance! UNA MAS UNA MAE!!!!

UNA MAE! UNA MAS! UNA MAS UNA MAE!!!

Wow, I clicked on "Try Again", it did, and it worked. Imagine that. All right then, the search is on for recordings by the Giordanisti Trio and Emergency Theatre Ensemble, whomever they may be!

2 heads Caramelized Garlic 2 fresh lemons, juice only 1/4 cup balsamic vinegar 2 Tblsp. olive oil 1 Tblsp. fresh parsley, chopped 2 Tblsp. fresh basil, chopped 3 each green onions or scallions, chopped 1 tsp. Tabasco sauce fresh ground black pepper Remove the garlic cloves from the heads and place in a nonreactive bowl. Add the lemon juice, vinegar, olive oil, parsley, basil, green onions or scallions, Tabasco, and fresh ground black pepper. Mix all the ingredients, and saucify when needed. Might not leave a romantic residue on the breath, but damn it's good!

the second link Uh, that's not it. Must be a firewall issue. Oh well. But yeah, what about those recordings?

We'll see.

Works for me too! Anybody ever heard Oliphant's Prestige side? I'm wondering how it compares to the Atlantics.

Is this late 40s stuff different than the Mooney things from the 50s? I always found those kinda "loungey", but this sounds considerably more interesting.

I know that bio answers the question, but who is Jennifer Pendur, and where did you find this info? I Googled Russell Thorne a few weeks ago (and have the scars to prove it!), and came across nothing like this!