JSngry

Tap. T'is good enuff 4 me.

The look so does NOT work for me,

music boy in the presence of Norah:

Yeah, I had something similar happen once, only it was the birds that sounded like car hotrns and the car horns that sounded like birds. And Eric Dolphy's flute playing sounded like a car horn building a nest!

You think that's Ravi Shankar's son?

Yeah, but can he do THIS?

How about BACK FROM THE GRAVE?

I think our dear friend music boy has some comments that might be applicable to your post in this thread, Jim. Comments from the music boy Is that guy for real? Fuck music boy! And fuck Norah Jones! (but not in the same way...)

Right on, Crown Records. My first jazz LP was a Crown. It was presumably, Stan Getz, whom, as a kid sax-player, I had at least heard of. Alas, I never found another Getz record that I liked as much. Then, revelation. Turns out it was actually Wardell Gray on that record. And I have ever since been a Gray-hound. Was it the one that had a picture of Getz obviously taken from a TV screen? I got that one too. There was a Firestone store in my hometown that sold records, and Crown was a staple of their selection, although that's alos where I got my Woody Herman HEAVY EXPOSURE Lp. I'd like to know who the jobber was who handled that account!

Dave Brubeck Quartet on Crown.

I'm probably in the minority here, but I prefer SHOWBOAT to JAZZ CONTEMPORARY. Both are fine, but the former really sparkles as a group effort. In particular, Jimmy Heath turns in one of his best recorded performances, feeling the influence of his homeboy John Coltrane and dealing with it in a no-nonsense manner. I usually don't care for those "jazz versions of a Broadway show" type albums, but the Kern material in this one is strong both melodiacally and harmonically, and KD carpe diems like a mofo, givining each tune a reading that is both deeply personal and germane to the material itself, something that doesn't always happen in these type affairs. Over the years, the preference I've encountered in others is JAZZ CONTEMPORARY, but for me, I'll take SHOWBOAT by a length and a half.

Between Parcells & Gibbs, the NFC East promises to be quite interesting in the years to come. Now, where's Buddy Ryan for comic relief? Hey, Vermeil can weep all he wants as long as he saves it for after the mission's been accomplished. I'd not bet against him against anybody!

Still?

Go figure. I think it's pretty damn good myself, "flaws" and all.

Does that mean that Norah suffers from a sense of inadequacy that she attempts to resolve by being a total freak in the sack? If so, how can I go about aiding this poor woman in her quest for wholeness?

I vaguely remember those Rascals sides. There were two with a strong "jazz" flavor, as I recall. The other one was "Isle Of Rael", or something like that. They were done for Columbia, after they had left Atlantic. As I remember them, they were pretty interesting, semi-"spiritual" in nature, and not at all bad. Sort of "jazz-y/rock-y/soul-y". Don't know if I'd call them "successful", not as I remember them, but "interesting" rings a bell fersure. I'd like to revisit them. How much they selling for?

I'd have thought that somebody would have put words to one of Louis', or maybe Bix's, solos at least once. Guess not, eh? Wonder why nobody had the idea?

Still?

Surely somebody from the pre-bop days put lyrics to a solo?

No, it's not for everybody. It's for everybody else.

Fathead's an archetype.

AGE OF STEAM desperately needs to be reissued. Some of my favorite Guerin, on top of everything else.

Maybe the tapes are lost. Didn't Riverside's archives get chaoticized during the label's final days and beyond?

Bummer. In the true sense of the word.

From Dusty Groove (the bastards!): http://www.dustygroove.com/globallp.htm#30286 AK Salim -- Afro Soul Drum Orgy (reissue) . . . LP . . . $8.99 (Item: 30286) Prestige, 1965 Condition: New Copy Incredible! This is a stunning set of African-inspired jazzy percussion tracks -- similar to some of the work done by Art Blakey on his Orgy In Rhythm albums, but with a lot better horn work, and with an overall conception that's much more unified! AK Salim did some sleepier work for Savoy in the 50s -- but by the time of this 1965 recording, he was emerging as a progressive composer with a strong talent for bringing together disparate moods and styles. This rare recording was one of his best works ever, and it's one of the most unusual sides cut by Prestige in the 60s. It features Johnny Coles, Pat Patrick, and Yusef Lateef out front on horns -- plus backing by a host of Latin and African percussionists. Tracks are very long -- and the reed work of Lateef and Patrick makes the set especially worthwhile for jazz listeners. Titles include "Afrika", "Kumuamkia Mzulu", and "Pepo Za Sarari". If you're the type who likes their jazz one or two ways only, stay away. Definitely. But otherwise, check it out. This is a really nice side, a lot more "organic" than a lot of the Blakey things, and totally spellbinding if you're into the kind of thing that this is, which is a lot more "African" than it is "jazz", which I think is why I've loved it so much over the years - no ersatz "exotica", just beautiful drum/percussion grooves, the kind that make time stand still, and probing, almost "out of character" soloing by the three horns. Don Cherry would have fit in beautifully on this album, but the way Coles plays, you'll not miss him. I never thought I'd see this reissued, and it's LP only, so I don't know how ""official" it is, but it IS being made available again. And if you don't have a turntable, stop living in the past! Carpe diem, my friends.