JSngry

Dude, I don't think so. GOIN' WEST had come and gone by then. As far as I know, it's only had the one cover, unless there was an Applause thing I missed. But that would have been early-80s. I could be wrong, though.

Kevin (and only Kevin), if you want to be so "close" to the music, learn to play an instrument. Knowing people and such still leaves you on the outside looking in("OUCH! MY EGO HURTS!"). In case you haven't noticed, Blue Note ADVERTISES. Imagine that, I can find out what's new from the label JUST BY OPENING A MAGAZINE! Otherwise, stop being such a fucking ninny. It's time to move on. Nothing personal. Love and Happiness (thanks for that one to a current BLUE NOTE recording artist), Jim "The Arrogant S.O.B." Sangrey, he who knows that what isn't "supposed to be" nevertheless is. Go tell Tom THAT.

As Berne did, so did Ehrlich: It's the "Julius Hemphill Sextet", but Julius was already dead. More additions to the Hemphill canon. Ehrlich takes credit for being "music director", but only in fine print. Beautiful music.

Yep, that's what sunk the label. Bad covers.

That's the original cover, btw.

And of course, the most important question: How's The Sound?

Just the facts.

There's also an uncredited electric guitarist on here.

Al Cohn on piano!

DESCARGA!

You can hear it, can't you.

Mi section!

El Negro!

Here's CUBAN JAM SESSION Volume 1 , led by Gutierrez. Volume 2 (led by Fajardo, I think), had the identical cover, except in blue. I don't have it, unfortunately, but a college bud did.

Berne was Hemphill's student, as I understand it, and a very devoted one.

Still a minority on this, but for me it's ODYSSEY OF ISKA.

No, that the cover they used for the MPG version...

Luck! February 14? Does Mrs. Gould know yet? Bring flowers and candy! For both of 'em!

Depends on the player, depends on how it's recorded, depends on the material it's used on, depends on a lot of things. But I pretty much love the sound myself, especially the darker, more "muddy" sound that certain Rhodes got (I've been told that age of the instrumetn isn't necessarily the cause of that tone, but it seems to me that the earlier ones had it more than the later ones). Not at all a "piano" sound, but a totally different timbre that set up totally different textural environments, and different inter-group resonances due to the instrument's unique "speaking" of its overtones (an accoustician I'm not...) Favorite Rhodes moment on record (literally, because the CD doesn't do it even remotely full justice): "Poinciana" on Sonny Rollins' NEXT ALBUM. Sonny on soprano, George Cables on one of those nice, muddy Rhodes that spike the high notes when attacked just so, and this time the tremelo is set just right (another thing I really liked about the Rhodes - and the Wurlitzer (God Bless Joe Sample's playing on THAT axe on those early Crusaders (as opposed to JAZZ Crusaders) sides)- btw), Bob Cranshaw on really nicely woody accoustic bass, and David Lee giving out with the God-awmightiest collection of cyballic overtonal WHOOOOOOOSSSSSSHHHHHHHHHSSSS of every concievable timbre imagainable, all of it captured in perfecter-than-perfect early 70s not-at-all clean stereophonic analog sound by Elvin Campbell at Mercury Sound Studios, NYC. The tones on this cut merge perfectly, and I get high just on the sound. The fact that everybody's playing quite nicely is just icing on the cake. But you gotta hear the RECORD. It's a world into itself, I tell ya'. Oh yeah, electric piano... Works for me!

Just signed up. You got mail.

Truth is, the censors didn't care too much as long as the material was kept in the "race market". It was when the material began to cross over that they opened their eyes. That's how "Roll With Me, Henry" became "Dance With Me, Henry".

Chuck, remember Shawn? Shawn, remember Chuck? Heckuva party, wasn't it!

Love Hemphill. All of his Black Saint albums are essential, simple as that. Supper's on, gotta run, but check out RAW MATERIALS AND RESIDUALS.

I kinda liked that Lovano/Osby FRIENDLY FIRE. Kinda gonzo in a NYC way, but some good stuff got played. Maybe not a classic, but there's some meat there.

I thought it was particularly interesting to have Rene & Jackie almost back-to-back. Love ANTIQUITY! Probably won't be to the liking of many, but hell yeah! Jackie's whole series of early 70s work on Steeplechase, from when he emereged from the "seclusion" of academia and began to return to sporadic public performance, is kind of a "missing link" between his late BN work and his more "traditional" work later on in the 80s & 90s. As I mentioned in the answer thread, the album he did w/Rene's Cosmic Brotherhood band is particularly invigorating. I wish Steeplechase was easily and readily available in the US like it was in the 70s, when Inner City put their stuff out. Too much great stuff there to have to work so hard to find it.