JSngry

Yeah, they did, but I bet that Gene Ammons outsold them both, combined, at least at the time. The Miles/Trane Quintet albums were widely staggered in their releases, and I don't think that the last one came out until, when, 1962? Prestige, remember, had "hits" early on. "Moody's Mood For Love" was a notable one, and I'm pretty sure that Jug was a big seller all through the 1950's, especially by the time that "Canadian Sunset" and "Angel Eyes" hit big. When I say "hit big", I don't mean "Top 40" big, but big in the blue collar African-American community. Those records were HUGE in that demographic. Given the relatively low overhead of the indie jazz label back then, anything that caught on outside of the hardcore jazz community would turn a nice profit, especially if it became a "jukebox hit". I think that companies made (make?) money on jukebox play, but I could be wrong. But I'll tell you this much - Gene Ammons was popular outside of the "jazz connesieur" contingent in a way that few post-Swing Era jazz artists have been.

I don't think we'll ever know who actually shot the man, but I've got a gut feeling that the Mob was, at the very least, not unaware of the assassination beforehand. I just can't buy the Oswald acting alone scenario. I've heard too many "stories" floating around these parts for too long, stories that, while they individually might be full of holes, cumulatively make believing that the assassination shocked organized crime as much as it did the rest of the country something that I can't muster. I can't PROVE anything, obviously, it's just a hunch.

I've had this on a 1993 American Music CD for several years now, and have plugged it to all who will listen. It is simply amazing, especially the spoken segment "Playing For The Benefit Of The Band". THAT cut should be imbedded into the subconscious of every jazz musician, or anybody who even THINKS about being a jazz musician. By any means necessary. I'm serious. Might as well go whole hog and get this one too Don't ask - just buy it now and thank me later.

Same album, different titles, but yeah, that's the one.

You're good, Jim. Check your e-mail just to make sure. So far, we have 41 people signed up, with 13 participants coming from outside the U.S! I'm moving slow (as per my unfortunate usual), but steady (and that includes responding to e-mails). Stay tuned, and please, feel free to sign up if you haven't already.

SHOOT yeah!

Put...the...gun...down, AB, PUT THE GUN DOWN!!! That's not the way to make it stop.

John Couwenberg (AKA couw)! Mr. Couwenberg made a stirring plea based on his personal circumstances, and that, coupled with the expressed interest in having a non-American provide the material (an interest that I also share, along with that of having tests eventually provided by folks both significantly older and younger than the norm here, to say nothing of other demographics, such as we are aware of them and such that they might provide us with a different "take" on the music), as well as his demonstrated knowledge and fluency with a lot of different types of music, sealed the deal for me. John, you're on deck. Work that pine tar good!

The Liberal Qaker, that is, not that your train is leaving.

OUT-standing!!!

Oh no, that would be too, uh, real. He just has to scorn those who would disaprove of it...

it's already out there on the wwweb my man! That's not a Liberal Quaker, that's the President of the Wild Cherry Fan Club.

Even cooler if included in that 20% is the part that did Nicole Kidman...

Dizzy Gillespie was a Bahá'í, for however much that is worth.

Ok all you Photo Shop Whiz Kids, make us a Liberal Quaker: "Nothing is better for thee, than me" Tell me THAT ain't a pickup line!

If the Smitsonian Collection Of Classic Jazz is still available, grab it. It's just what she's looking for, especially w/Martin Williams' annotation. Many have quibbled about certain selections and proportions, but for somebody who wants to "know" the music without REALLY knowing it , it's about as good a deal as there is. You'll like it too, so it's win/win.

"Everday I Have The Blues. Every DAMN Day"! Not in stores...

Is that Muse side the one that first came out on Cobblestone? If it is, I USED to have it, but don't know if I still do. I remember liking it pretty good, but the record being a really, REALLY, noisy pressing, so I might have ditched it in one of those "to good to refuse" type trades back in the day. I'd look for my stuff for it, but FUCK THAT!!!

Probably my favorite Dexter from the 50s (not that there's a lot to choose from...) is on that Stan Levy Bethlehem date. He sounds more like "the" Dexter there than anywhere else, I think.

Bad days come, and bad days go. Eventually. For a second or two. If you get a chance to sleep, it's all good. At least until you wake up...

Been married for 20 years, got a 17.5 year old and a 13 year old. I remember what life was like before them. We had no responsibilty to anyone besides ourselves, which was really cool, but could easily have led to some serious self-indulgences had we not brought these two lives into the world. Having kids makes somebody ELSE the center of your world, at least it did ours, and all of a sudden you gotta start THINKING about stuff, not just going on reflex. All of a sudden, sacrifice becomes, not just necessary, but genuinely attractive and deeply rewarding - and it knows no end. As they grow older, the self-tendency to put up with excuses and whining diminishes greatly as you get bombarded with it and eventually come to realize that more often than not, it's a TEST, and if you give in, EVERYBODY fails. Also, the hypocrisy meter gets a lot more attenuated, as you realize that you can't say one thing and do another without your kids missing NO opportunity to practice what you do long before they even entertain the idea of entertaining the idea of what you say. Big reality check there, Jack. My life without kids was very different, and a HELLUVA lot easier, but I seriously doubt that it was better. In fact, I KNOW that it wasn't. Many of my friends are childless, and they are doing fine, but if I hadn't have had the family I have, I doubt that I could say the same about myself. Life seems to have a natural system of checks and balances built into it, and kids was a part of mine. They're DEFINITELY works in progress, but aren't we all?

I've got the Boplicity CD, and I like it. But, and it's a big but, this session comes from a time when Dexter was pretty strung out, and I think it's reflected in the music. REALLY laid back in vibe, not as much as Dexter in the last years, but a general "stoned" feeling to the music pervades, which I don't disaprove of out of hand. It doesn't have the "edge" of his later work, but the patented Gordon lyricism is plenty present, and that's enough for me. The rest I take as part of the package, the "document" aspect, if you will. The documentary value is enhanced by the appearance of Perkins and the obscure trumpeter Jimmy Robinson, to say nothing of Chuck Thompson on drums and the near omnipresent-in-those-days-in-that-place Leroy Vinegar. Not quite "essential" musically, but definitely so historically, even moreso if you're a Dex-head like I am.

Thanks Harold. That makes sense. Now, do you know if Sam had a "side career" going on doing session work, perhaps uncredited? No shame in paying the bills, know what I mean?

Hope this is going to be available on 8-Track. I've got GOOD memories of Al Green and 8-Track!

But seriously, folks... I'd like to know the confluence of events, connections, etc. that led to Sam getting contracted for a Joe Cocker date, especially if it was just as a section player.