JSngry

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...

I'd have much less of a problem if he had said "Swing" instead of jazz. There was a fork in the road somewhere, and "Swing" went one way, and "Jazz" another. But they stayed within shouting distance of each other for quite a while, and at times still do. So I get what he thinks he means. But he's wrong on one crucial, if only implied, point. Prima didn't really get into the "jump" bag until '55 or so, when he hooked up w/Sam Butera. Prior to that, he was almost there, but not quite. Butera deserves a LOT of credit in this regard.

Club Ruby is where that "all-star" trumpet tribute to Clifford Brown & Booker Little album on Springboard was recorded, and that was from 1966, I think I've heard. Where's you find out about this gig? Sounds interesting.

But - You can leave your hat on...

http://www.redtrumpet.com/new_hardware/ite...&sid=1159785927 Thing is, i DON'T have too much more money (<$100 wigggle room), I DON'T have a lot of time for shopping and haggling (none really), I DON'T have the time or inclination for a lot of tweaking, assembling, calibrating, etc (inclination, yes; time, no), and I DON'T want or need anything other than a good turntable that is going to last for a good long time (is that so wrong?). I've had good experience with Red Trumpet in the CD department, and if this table/cartridge combo is indeed a "good deal" AND if nobody has any horror stories about buying hardware from Red Trumpet, then I'm there soon enough. It's just the kind of shopping experience I need - order, recieve, unpack, plug in, play, and enjoy. Any reason NOT to expect that from this deal? As always, thanks in advance.

no.

$3.08 at http://www.cybermusicsurplus.com/online_ca...sku_tag=BBR3503 Some of the most daring, gripping, and PERSONAL tenor playing I've ever heard. No shit, this is the REAL deal. I'll be deep into this one for YEARS to come. It's OOP, so carpe diem. You can thank me later.

Just got word from Red Trumpet that BOTH Gale BNs are slated for release on 4 Men With Beards 180-gram LPs. No date, just "Upcoming".

Taking a cue from my close friend Ornette, I'll be issuing no license for release until 2025. Wouldn't 1225 be more appropriate? Hey Ron, was that SOUL EYES thing European or Japanese?

Only know him casually. Played a few gigs with him back in the day. You're right on all counts. BTW, he was a HUGE indirect influence. Cat also has had a career as a jazz DJ. First heard him in the early '70s on KNOK-FM outta FW, featuring the omnipresent "Have YOU been to Mr. G's Motel?" ad ALL freakin' night. He did the all-night shift M-F, and I'd stay up all night, even on school nights, listening. The station faded in and out quite a bit (I was 130 or so miles away), so it was a hassle, but he played the best of the old and all of the new (good AND bad). Heard a lot of things, GOOD things, for the first time on that show. And some bad things too - he played the SHIT outta BLACK BYRD when it came out... He later had the afternoon drive-time show on the old KSAX-AM, a dawn-till-dusk all jazz station that was around in the late '70s. He'd play a BUNCH of then OOP BN stuff, long jams back to back to back, stopping only for commercials. Great times, those were. No bullshit, just groove. And in classic AM sound, no less. The kids today don't know what they're missing. Seriously. AM has a MOJO. Then he went to our now-defunct jazz FM station (can't remember the call letters right now, darn it), and finally was on public access KNON-FM, playing a lot of the same LPs he played on KNOK. I'd hear the scratches and think, "I knew you when!" Guess he finally retired from radio. Too bad. Yeah, Bob Stewart's cool!

This is the kind of stuff I'll end up buying used a few years up/down the road (which one is it, anyway?) when the trends have changed and it's no longer omnipresent. I'll HAVE to come to it. In fact, I've been contemplating a Public Enemy binge for a while now. LOTS of stuff in the used bins these days.

It ain't how high you can keep yourself that matters, it's how low you can keep yourself from going. That's true of a lot of things, come to think of it...