JSngry

One picture is worth a thousand words, unfortunately... If THIS one creeps you out (and it does me), find the original cover for the Rosolino "Kenton Presents" side on Capitol. Brrrrrrr...

I don't think that ANYBODY ever has.

People who wonder just how bad things were for jazz musicians in the late 1960s should consider the fates of Bertha Hope and Tina Brooks.

Nope, never have seen it. Thanks for the image, Dmitry.

A bass player?

Two things concern me from reading various online consumer reviews. 1), the manual seems to be unanimously panned, and 2)there seems to have been a problem at one time with the tables being carelessly packed at the factory. The things would come out of the bos with screws loose or all the way out just rolling around. The second problem shows up very early in the chronology of the reviews and then seemingly stops being an issue, but the second one seems to carry on through the present. Any comment? (BTW - thanks to all who have responded. Any and all opinions and suggestions are more than welcome at this point.)

Oh yeah, I taped the movie off TV one night a few years ago, watched the first 30 minutes or so, and shut it off. It just seemed silly, with a lot of WAAAAYYY exagerated "hipness" being ejaculated fast and furious. Maybe it got better (or maybe it just got bitter...). I still have that tape somewhere, maybe I should watch it all the way through. Or not. Good music, though.

Can anybody find a cover scan of the Impulse! album to post? I've seen most every '60s Impulse!, including the Danny Richmond, the Jackie Paris, the Beverly Jenkins, the Freda Payne, the Russian Jazz Quartet, the Kuhn brothers, etc, (don't have any of them, though...) except this one (actually 9142 according to Mr. Fitzgerald's listing), 24 (something by one Michael Brown), 25 (Oscar Brand ) & 9145, the Intercollegiate Jazz Festival album. Hard to believe that such an album would have been so obsure!

You mean these? Exactly. Creepy....

I remember, but don't have, this one. Pretty good. Not GREAT, but I'm looking forward to hearing it again. The title cut is pretty cool, too. Think I prefer the "'Round Midnight" on DOWNHOME NEW YORK, the eptitome of "ugly beauty", but hey, it's been a while. I don't know what "lost" means, though.

BH, are you being serious? Seems to me that that Mode character did have a name. Bill "B" Bop rings a bell, too. Can't recall where or when I heard that, though. No matter - I take "Bill" over those creepy paintings that Mode used. The one for MUSIC FOR PRANCING (yeah, some had both, from what I gather) makes Warne look like somebody who was too wholesome to get cast on Ozzie & Harriet. GEEZ, talk about disturbing...

Dude, believe me, I KNOW where my turntable is. But it's gotten old and rumbly, and the cartridge has gotten to the point where it still sounds fuzzy after putting in a new stylus. 22 years is a good ride. Time for a new one.

I just tried to post in a thread. The first time reulted in an "unable to send e-mail" message, so I backed up and hit the post button again, thinking that perhaps I had misclicled the first time. Lo and BEhold, I was faced with a double post, one of which I've since deleted. Have no idea if this is related to the PM issue, but I've clicked the post button here often enough to pretty much know where it is ; ) , so when I got that e-mail thing, I was all like

A tangent, if you will... Hendricks wrote the original English lyrics to a bunch of Jobim tunes, but somebody (Jobim himself?) didn't dig them and got Gene Lees to write what are now the "official" lyrics to a lot of those tunes. So my question is - if Henrdicks wanted to do an album of all Jobim tunes with HIS lyrics (and I know he did something simular on Reprise back yonder ways, that might have been what got Jobim/whoever on the case to get some different lyrics, maybe?), would he have to call the tunes something diiferent (I know "Desafinado" came out with the subtitle "Slightly Out Of Tune" on a JH&B album), or would he perhaps not be granted permission to do this at all? That would be kinda weird, to have a whole body of lyrics you couldn't record. Has such a situation occurred before in the anals of history?

Also, White subbed for Elvin w/Trane on a Chicago engagement once. I'm told that Andrew Woolfolk was a student of Joe Henderson's at some point. And Don Myrick, GREAT player, even if not an "official" member. He was around that late '60s/early 70s Cadet scene that was producing some pretty interesting music, "commercial", but with a twist. So, as Tony mentioned, was White. EWF's Warner Brothers albums (their first two) present a VERY different band, one with much looser, political, and, at times, free-jazz leanings than they cane to be known for. Although not "essential", they make for interesting listening historically. This is DEFINITELY one of my favorite bands! For me, the peak of EWF was when they were working in tandem with producer Charles Stepney. Their Columbia albums had been building in coherency and identity, but when Stepney stepped in, out came THAT'S THE WAY OF THE WORLD, one of the greatest records anybody's ever made, period. They followed that up with GRATITUDE, one of the greatest LIVE albums anybody's ever made, period, and it included a side of Stepney-produced studio material, including "You Can't Hide Love", one of my favorites. Then, somewhere during the production of SPIRIT, Stepney dies and White was left on his own. I'll not say that that was the beginning of the end, far from it. But Stepney seemed to have the knack of countering White's "heaviness" with a "lightness" that was damn near irresistable on both intellectual and emotional levels. Left to his own devices, White turned out some MONSTER productions, the likes of which have yet to be equalled. For a while there, EWF was appealing to EVERYBODY, including "serious" musicians, and that seldom happens with a "pop" band, especially a SOUL band ("serious" musicians tend to gravitate towards the more "esoteric" pop stuff). It was truly great music, great playing, and near-superhuman production that still appeals greatly to me today. I wish more pop music aspired to such a level of positivism, in both lyrics and performance. But I'm getting old, so what do you expect me to say? Still, I myself missed the touch that Stepney brought, and if I have JUST a little less enthusiasm for the post-Stepney work, it's a difference that nobody but me would notice in a lineup. It's not that without him was less special, it's just that with him was more special, if that makes any sense.

Thanks for that info, John. I'm an afficanado of the type of pop-vocal arranging that Riddle and many others did, it's a craft/art that is a lot more tricky than the EZ-listening results might betray, & this Spence cat seemed like he had Riddle's bag down, all but the VERY deepest stuff, which Riddle himself didn't trot out all that much.

Speeeling gafes asife, this id a superj albuim.

Thanks! I'm leaning...

True, but the Prestige late 60s repackagings (and Don Schlitten-produced new releases) had some of the greatest liner notes ever written (or at least some of my favorites), full length essays by Dan Morgenstern, Ira Gitler (who had actually been present at many of the earlier Prestige sessions), Mark Gardner, et.al. A particular favorite is David A. Himmelstein's notes to Booker Ervin's SETTING THE PACE, which reads like an espionage novel or something. I'd recommend that those who do vinyl look for those Prestige repackagings just for the liner notes. Even better, I recommend somebody putting them on line. Even mo' better, I'd recommend somebody collecting and publishing them. Now if you want some truly wacked-out liner notes, pretty much anything by H.Allen Stein for Savoy should fit the bill. Was that cat real?

Thanks for that input, Matthew. I'm sure it's a quality table. How about the Goldring G1012 cartridge? Now, does anybody have any feedback about buying hardware from Red Trumpet, anectodal or otherwise?

I kid you not - this is some gripping music. If you only know Montrose from his days as a quite interesting but ultimately somewhat derivative Rollins discicple, you very well might not recognize the player heard here. Montrose has TOTALLY found his own voice, and is singing (figuratively, of course) with imagination, grace, fluidity, spontaneity, natural (not preordained) swing, and all the other good stuff that happens when a player is in that ZONE. Yeah, Montrose is in a zone on this album. It's a beautiful thing when that happens. It's even moe beautiful when it don't cost but 3 bucks to hear it.

Bite me, fokker!

That album was on Trip, dumbass.

mmmm...SASSY!

Well, when you put it THAT way...