JSngry

FUNNY! But THAT come from THIS! Does a man have NO friends in this world?

It's a Joe Venuti reference. http://www.metroactive.com/papers/metro/07...-rock-9728.html

Tofu gets a bad rap. As far as a main flavor, it sucks, but putting it in with things that actually DO have flavor is very economical and nutritious - GREAT source of protein. The stuff acts as a flavor sponge, so it's perfect for really spicy Asain dishes, where the texture is non-obtrusive.

Don't fight the McGiddle Jones. The syrup's baked in, ya'know.

I got a trumpet player buddy who used to be a screaming lead player. A trip to the dentist changed all that - the dentist hit a nerve that has left my buddy's upper lip numb ever since. Disaster for any brass player, especially a lead trumpet player. Now the guy does private teaching and and plays section parts. Sweetheart (or dummy...) that he is, he never sued. OTOH, I've had the same dentist and physican for the last 12 years and things have been perfect. I fear the dentist and the doctor no more than I fear the TV set, and LESS than I fear what comes in my house over the TV set.

Why? Don't know this story, but would like to hear it! As I understand it, Max kept interrupting the proceedings by walking onto the stage carrying placards with various political/civil rights slogans. According to Joe Goldberg's Jazz Masters of the 50's, Charles Mingus's response to this was, "I told Max that if he wanted to become famous, he'd have to do something crazy." Make of THAT what you will!

Ok, Time was out of the picture by July 1960, but Max had recorded for them as a leader as late as November of 1959, right? Obviously, a project like WE INSIST! doesn't get thrown together in the studio like a blowing session, so here's what I'm wondering - did Max maybe pitch the project to Shad in late '59 or early '60, and Shad says no way, are you crazy?, something like that. Max, who by some accounts had been a little wobbly on-and-off ever since Clifford's death, takes that as the final straw and goes all the way into activist mode, with the Newport Rebel Festival being a warning shot in the summer for the upcoming WE INSIST! recording in the fall, Hentoff and Candid being in the right hands in the right place at the right time to document all this. When Candid closes up, both Mingus & Roach go to Impulse!, Max pretty much taking up where he left off, and Mingus going into something else, at least on record. The break with Shad and Time seems too close to the Newport Rebel/We Insist/Candid series of events to have been entirely coincidental, or so it seems to me. Maybe it was though. Either way, I'm wondering if there's any documentation one way or the other, as it seems that if indeed Shad had rebuffed the idea of WE INSIST, either politely or otherwise, that might have indeed served as one factor that turned Max into a MUSICAL activist as opposed to the type who kept their politics out of their music, at least overtly. Or maybe Max had just and enough of "business as usual" and broke away from Shad just because. It seems like a matter for potential further investigation. Shad died in 1985, right? How is Max's memory these days? Have we waited too late? Another question - did Time slide into Mainstream "seamlessly", or was there a break in the action? And as far as Debut, I know the label ceased being a real label in '57 or so, but Fantasy kept the imprint active for the occasional later release by Mingus and Roach. Didn't SPEAK BROTHER, SPEAK come out as on Debut, or Fantasy Debut Series, or something like that?

You guys got reviewed in the new Cadence. They dug your album and described it as a "red alert" for organ fans!

For Wayne: For Eric:

I'll admit upfront that my chronology in this matter is not what it should be, but it seems like Max followed producer Bob Shad to Time from Emarcy (just as he followed Bruce Lundvall from Columbia to Elektra to Blue Note), and that the string of Max-related albums on Time were all from the turn of the decade, 1959-1960. WE INSIST! was recorded in 1960, right? So why did FNS end up on Candid? Did Shad nix the project for fear of controversy or, perhaps. a lack of interest in its themes? Or was the Shad/Roach relationship already over due to other, non-related factors? Roach seems to like working with certain producers, no? His involvement w/Hentoff might have been a long and productive one if Candid hadn't folded so quickly. From Candid, he went to Bob Theile and Impulse!, a label that would seem perfect for his work of the era, but that didn't last too long. I wonder why? Then there's the Mingus factor. The former partners in Debut sometimes crossed paths labelwise, including, especially, the Candid days & the subsequent Impulse! ones. Did Mingus have any sway with Roach about bringing FNS to Debut [edit: I of course mean Candid here] (or Roach w/bringing Mingus to Candid)? Any info in this matter would be greatly appreciated. As always, thanks in advance,

Her two Novus things might still be available in deeper cutout bins. Don't bother unless you want to hear slick, pop crossover attempts. Actually the first one, AMINA, is not too bad for what it is attempting to be, but neither album are worthy of her greater talents.

This CD contains remakes, not the original recordings: AMG review. My bad. Scratch that from the list, then.

Of this, I know nothing...

For Mr. Litwack:

Listening to the Moonglows set that J.A.W. so rightly recommends above, I noticed the Red Holloway makes some my-t-fine solo contributions, and that one one session, the backing is by James Moody, Dave Burns, Sadik Hakim, and whoever else was in Moody's band at the time. As well, the into to the tune "Penny Arcade" seems uncanilly like a premonition of a Brian Wilson production. The Moonglows need to be heard!

I didn't know there WAS a cure for British bacon... (JUST KIDDING!)

Speaking of Doo-Wop, does anybody remember a thing by a group called The Medallions called "The Letter"? Whoever that was who did the spoken part in the middle sounds like a real "uh, he was always kind of a loner" kinda guy, if you know what I mean. But OTOH, you GOT to love any record that uses a word like "pizmotology" and talks about the "pompitudes of love" (a phrase later co-opted by Steve Miller!). I came across it on a Collectors Records cassette (oh, the irony!) collection of Doo-Wop singles from the Doo-Tone label (yeah, the same label that did Redd Foxx, Curtis Counce, & Dexter Gordon). There's some GREAT stuff on there.

Some people call me Maurice...

Partch was stilll very much a cult figure when I "discovered" hum for myself in the 70s. I'd say that by any reasonable deinition of the term, he remains one today, unfortuately... Aric, next time you get a chance to see the original "Mothra", check out the song the two girls sing in their cage. Pretty darn interesting. Now if you want to talk about "exotic" music and Hollywood, remember that California, and the whole Pacific Coast area, historically had an influx of Asian peoples and cultural flavors a lot earlier than the rest of America did. Probably a geographic matter entirely. But I'd think there had to be all these "exotic" strains in the air that had an effect on the overall esthetic of the region, just as the American South is steeped in African-American influences and the American Northeast is in the various European immigrants' cultures.