JSngry

Yeah, I suppose these days it does, but when I got into jazz, it was in an area where "classic" Blue Note was only available in the cutout bins (BLACK BYRD, Bobbi Humphrey, etc, otoh, were damn near everywhere), so I got seriously into Free Jazz, West Coast, Big Bands, Prestige, & Impulse! about 5-6 years before I got my Blue Note jones, which when I finally did get it, I got it hard. Those other styles, labels, and albums were a lot easier to come by for me, and the music "fit" really well. So I've never really had the Blue Note/Hard Bop "myopia" you so accurately describe. That music means a lot to me, obviously, but it's always been part of a bigger musical whole for me personally. But, relevant to this thread, that was a different time.

And Stuff Smith.

http://www.counterpoint-music.com/specialties/durwood.html Durwood Douche is actually jazz pianist Dick Shrieve. The song seems to have been around for several decades and is apparently a "cult classic" in cabaret and other circles. If you don't pay attention to the lyrics, it's actually quite beautiful. Does Organissimo need a new ballad in the rep? It has also been recorded by one Sharon McKnight under it's "official" title "Why Me, God?" Perhaps that's the version heard on the link on Carrouthers' site, I don't know. And btw, if you like THAT site (and have Real Player), try this one: http://www2.bitstream.net/~tgg/tgg/ Perhaps even funnier. No - DEFINITELY funnier. But that's relative, if you know what I mean. Trust me.

Was in the Houston area in the summer of '73. Ellington was in town, doing a week at a hotel, but we were visiting relatives, time was tight, so was money, and my Dad wouldn't let me drive in Houston by myself. Less that a year later... Migus played Dallas, at SMU, in the fall of 1974, ny freshman yeat at NTSU. No publicity. NONE. Found out about it the day after from the (sadly) late Jim Lacefield, who just happened to be in Dallas the prior afternoon and overheard somebody mention it. He went straight over to SMU, and was one of, he said, about 50 people in the auditorium. Pretty sickening (in several ways) news to get at 8 A.M. in a beginners piano class, I tell you...

My kinda broad!

You hear a "connection", though? It fascinates me how you can hear the same thing in different contexts, and if you don't pay attention you can go on thinking it's two totally different things when really is the same thing!

Hugh Lawson, right? Another Workshop Jazz album not yet mentioned was a really nice group of 4 cuts led by pianist Earl Washington, w/Franks Foster (caught JUST getting into Trane, it sounds like to me) & Wess, Thad Jones, Henry Coker, Ed Jones, and Sonny Payne (playing small group jazz very nicely, thank you). The album's called REAL JAZZ, and is Workshop Jazz 202, if you're keeping score at home... But it's a weird album - there's two other cuts on the album: one that's a totally inane teeny-bopper "twist" type instrumental that doesn't even sound like the same band, and one, yes ONE, cut by a totally different group consisting of Washington, trumpeter John Neely, tenorist John Avant, Herb Brown, & Walter Perkins doing a "Blues March" clone. Don't know if this hints at another session led by Washington, of it this group just cut the one song as filler for this album. Maybe the Basie guys hit it and quit it, if you know what I mean, and some filler was needed for a full LP. But yeah, the Brooks side is good!

Hell, in this economy, everybody's just working ON the weekend!

Its catalog/vault items New jazz that is either "conservatively progressive" (meaning that it might displease some folks, but it won't scare anybody ) or a continuation of the label's (mostly) Wolff-led years "Rare Groove" style And Singers that a lot of jazz people have dug over the years. Remember, Mose Allison has been with them for a while now. Don't know if he still is, though. We've also had Lou rawls and Dr. John, and I'm sure there's been others. You got Dianne Reeves too. Thank God it's not Dianne Schurr! Actually, it seems like a pretty diverse-yet-coherent agenda if you ask me. Music that is comfortably different and is either "jazz" or "today's non-smooth-jazz-listener-friendly". Not too much of the new stuff thrills me, but I doubt that I'm their target demographic either. And, of course, there's Norah Jones, who I really don't think anybody had a clue was actually going to become a freakin' Pop Star. I think they saw her as an interesting jazz/country hybrid, not too terribly dissimilar from some aspects of Mose, albeit several generations removed in style and substance. But they heard something "different", something of musical interest that didn't fit any then-established pop niche and was closer to jazz than to any "commercial" format at the time. Credit Lundvall's veteran expertise with knowing how to fully capitalize on that Pop Stardom when it began to happen, helping the Blue Note bottom line to no end, and possibly saving EMI from some deep shit. Not for nothing did this guy used to be head of Columbia!

Count Basie w/Lockjaw, Eric Dixon, Marshall Royal, and Norman Jones, Shreveport, Louisiana, Sunday, December 13, 1970. The trip to Shreveport to see the band was a birthday present. I was about to turn 15 and had been into jazz for about 4 months. Didn't know who anybody was but Basie. My Dad recognized "April In Paris". The whole experience freaked me out. Ths shit was LOUD! The musicians were cooler and hipper in demenor in comportment than anything I had yet to even begin to imagine. And I thought that Dixon & Jaws were the weirdest (in the best possible way) shit that I had ever heard, weirder than Zappa, Hendryx, & "Revolution 9" rolled into one. STILL think that about Lockjaw... Oh, to have a time machine and be able to hear what I heard then with the benefit of what I know now... During that concert, what had begun as an enthusiastic curiosity became a purpose in life. Two weeks later, I bought my first jazz album. A few days later, I bought my next. Three weeks later, I got my first solo in Stage Band. And so it went. And goes.

You know, I got really upset when Total stopped making oatmeal, but Al Green on Blue Note doesn't bother me one bit. Hell, if they want to reactivate Pacific Jazz and do a Brian Wilson solo album, that's cool with me too. Possibly even more than cool, depending on the results... It's all music, and it's all business. You want "purity" and "vision", look somewhere besides a corporate entity. Or even better, compare Blue Note to Verve and send Bruce Lundvall a note of thanks.

That AMG blurb leads me to ask - what OTHER forms of "vinyl trickery" are there?

Surf the net, watch TV, and eat. ALWAYS eat.

Now, if you want to hear some deeply moving Getz (and "deeply moving" is a quality I think he didn't consistently bring to his playing until his last years; just my opinion), try this one: If "When I'm Called Home" don't get to you, you probably can't be gotten to.

Bet there'll be a sexy cover for THAT one!

I just dusted off an old 45 rpm single I bought way back when I was still young and foolish, Give me one more chance c/w Get it, the latter being a real nice funky instrumental. The band doesn't sound as big as the listing, but they hit a groove. Cover depicts only five guys. But that list sure IS impressive. I'll give it a spin ... Click here and find out yourself! Picked the personnel listing off of HERE. You know, it's interesting, becasue the way this guy kicks sometimes, it's like he's superimposing funk accents over a jazz pulse. Which brings to mind an off-topic point. Does anybody else hear, on Jimmy Smith's "Messy Bessie", Donald Bailey slipping in and out of a groove that is VERY similar to what James Brown would be up to a few years later? Bailey stays on the ride cymbal, but the accents he plays in spots, and the feel he plays them with, sure sound like a JB groove to me. Knowing how popular Smith was in that circle, I can't help but wonder if somebody in JB's band, maybe even JB himself, didn't pick up on that and put it to a more overt use. But maybe I'm just imagining that? And, BTW, what other recordings of this trombonist did this drummer appear on? Enquiring minds want to know!

http://www.carrothers.com/comedy/julie%20london.wma

http://www.carrothers.com/billyboy/comedyjukebox.htm

CAPTAIN MARVEL is one of my favorites, but not as much as SWEET RAIN.

What was the quote? I didn't hear the Buddy tapes until just a few years ago.

Yeah, I can just imagine Sgt. Friday having Bird thrust upon him by this buxom beautifinous bombshell that he found himself somehow being married to. Puts all those Dragnet/Adam 12 episodes involving hippies, acid trips, and dead babies into a whole 'nother perspective.

Just to clarify, Wilmer & the Dukes are NOT heard on this BFT, although, apparently, Vinnie Ruggiero is.

Wilmer & the Dukes = Arnie Lawrence Baritone Saxophone Jerry Niewood Baritone Saxophone Ron Alberts Drums, Percussion Vinnie Ruggiero Drums Doug Brown Guitar Wilmer Alexander Jr. Keyboards, Piano, Tenor Saxophone Gap Mangione Keyboards, Piano Larry Covelli Tenor Saxophone Jerome Richardson Tenor Saxophone Sonny Ausman Trombone Dennis Good Trombone Chuck Mangione Trumpet Sam Noto Trumpet Good Gawd. How are they?

"All The Things You Could Be By Now If Snoopy's Wife Were Your Mother" "Baron" Mingus, as he called himself back in the L.A. days, would rechristen himself "Red Baron" Mingus. "Little Red-Haired Girl's Table Dance" "Duke Ellington's Sound Of Franklin"

Creation is literally vibration, and so is music.