JSngry

In matters such as this, I fear that we often tend to overlook the profound contributions of Jonathan & Darlene Edwards. Jonathan's courageous innovations should inspire us all, especially since Darlene's legacy has had an influence that transcends gender.

My bad. Of course, it's Sonny Stiits.

Add: MVCJ-19021 - Lou Donaldson - Fried Buzzard MVCJ-19025 - Odell Brown & The Organ-izers - Ducky plus: MVCJ-19115 - Lou Donaldson - Signifyin' MVCJ-19116 - Baby Face Willette - Mo' Rock MVCJ-19117 - Willis Jackson - Smokin' With Willis MVCJ-19118 - Sonny Cox - The Wailer MVCJ-19119 - Brother Jack McDuff - The Natural Thing MVCJ-19120 - Sam Lazar - Space Flight MVCJ-19121 - Soony Stitt/Bunky Green - Soul In The Night MVCJ-19122 - Ramsey Lewis - Wade In The Water MVCJ-19123 - Odell Brown & The Organ-izers - Mellow Yellow MVCJ-19124 - Lou Donaldson - Blowing In The Wind SOURCE: the boolet from THE WAILER, which I picked up last year from one of those Red Trumpet sales. It's kinda weird - the logo for this series is a slice of watermelon... There was also a series of 8 Prestige things released with VICJ prefixes advertised in the booklet as well, but since it took me forever to type these, I'll get to those later, unless some kind soul beats me to it.

70s porn soundtracks? How much unimaginative wah-wah can you stand? Strangest music I ever heard in a porn film (hey - back off. That was then, this is now!) was in some very early-80s flick, a strictly low-budget affair, when in the midst of all the wah-wahs, slap bass, and god only knows what other cliches, the soundtrack suddenly switched over to Buddy Rich's "Big Swing Face" (just the tune, not the album), straight from the Pacific Jazz album. Explain THAT!

At least you can eat the fish...

It was somewhere in the hazy smoke-filled rooms of 1976-1977 that a friend of mine who had begun the Blue Note quest put on UNITY without saying a word. I wasn't sure if the rush I began to feel was the music or the result of a heavy session of lathering-rinsing-repeating my head with Herbal Essence. In those days, frequent shampooing was a fact of life. It was the music.

Dusty Groove - THE BASTARDS! They take all my money! Gotta love 'em!

Personal feelings about the ones I know well enough to comment on: - Bob Dorough, Devil May Care - YUCK. Sorry, but Dorough's voice just bugs the hell out of me. - Duke Ellington Presents - I'm no as enthusiastic about this one as others. It doesn't really sound "gelled" to me. - Duke Ellingotn, Historically Speaking - Now THIS one I can get enthusiastic about! (Except for the perverse rendering of KOKO. Whichever critic raised a fuss over its desecration was on the money as far as I'm concerned. But that's the only bum note on an otherwise excellent album.) - Johnny Hartman, All of Me - Ok, but not "essential". - Johnny Hartman, Song from the Heart - Good, bot not quite up to Hartman's classic later work. At least not for me. He still hadn't reached that level of total relaxation and intimacy that begins on AND I THOUGHT ABOUT YOU. I'll say this though -this is probably the most bizarre use of bonus cuts I've ever encountered. They paint a picture of Hartman as totally dazed and confused, forgetting lyrics and generally sounding like he's totally out of it. Fascinating in a perverse way. - Betty Roche, Take The "A" Train - Nice. Very nice. I like Roche quite a bit, and she's in good form and good company here. Oh yeah, the Persip date is a killer!

If it's my money we're spending, "Dear Sir" alone is worth the cost of admission. (Damn, I think I'm turning into Larry King...)

From what I can gather, "standard" is usually "X" # of albums with an option for "x" more if the label desires. Perhaps in Hunter's and Jackson's case the "X" was five, the option for 2, and Hunter's option got picked up while JAckson's didn't?

Big Thumbs Up from over here.

It's been years since I've watched that show, but, yeah, I enjoyed it VERY much.

He plays a solo on "You go To My Head" on Shirley Horn's THE MAIN INGREDIENT that merits attention. "Computer G" from Kenny Garrett's BLACK HOPE - now THAT'S some Joe Henderson for your ass! Gimme time, I'll think of some more.

THERE IS NO NUMBER ONE!!!

I'd really. REALLY. like to see you do WYNTON IN ORCHESTRAVILLE...

It's sorta like a literary version of THE BLACK SAINT & THE SINNER LADY - sprawling, ambitious, passionate beyond reason, warm, knowing, you name it. AND - pretty damn funny in spots. "Sloppy pop", anybody? Maybe not a biography of the man, per se, but surely a biography of his spirit.

Where's my coffee?

Sounds interesting and affordable. Any reviews?

...that Organissimo went for a ".org" domain for their website rather than a ".com"? I mean, it IS a ORGan group right? Stands but to reason! I just, JUST now caught this, right now. Didn't USE to be so slow, but time marches on....

How you do this! Is a MIRACLE!

Word. I frequent all the boards, and jump in where it seems I can contribute, but I still consider this "home". Any board will be what its member make it, pure and simple. The recent political talk has been heated, but that's what backrooms are for, right? This is a hip joint, and there's no reason for it not to stay that way. Keep it lively, keep it loose, and keep the dirty stuff in the back. And check all guns at the door.

Thanks! If you have a REALLY good relationship with her, lovingly offer her the suggestion that perhaps she can't decide how to listen. And then run like hell.....

Well, I got this from a Max interview in Down Beat, I think it was. Supposedly Max had one album left on his Atlantic contract, and he began to be, as they say, "advised" by the label to "consider" making an album of "familiar" music. Max says that he thought to himself, "Well, what could be more familiar than a program Negro Spirituals? EVERYBODY knows those", and went on ahead and recorded LEVAS, an album that finds the common ground between free jazz and gospel, replete with a non-hesitant, if you know what I man, choral group. The album was not a popular favorite. Atlantic was not amused, and, after striking what was considered a "militant" profile throughout the 60s into the 70s, Max was dropped by Atlantic and apparently viewed as irrelevant by American record companies, since this was Max's last American release until Bruce Lundvall hooked him up with Columbia about 6 or 7 years later. Plenty of good, new stuff came out in Europe and Japan though!

Damn your eyes.

You're basically right, Chuck. But I love the guy anyway. A comment you made back on the Planet Krypton Board hit the nail on the head - HOW he played was more important than WHAT he played.