JSngry

Wanna hear Joe Hnderson jamming righteousy on "59th Street Bridge Song" and "Last Dance"? Apparenty Jerry Rusch/Rush did. Can't fault him for that. http://www.startribune.com/stories/466/3876285.html http://www.allmusic.com/cg/amg.dll?p=amg&u...l=B6fq5g4kbtvoz

Pate for cannibals perhaps?

Good Evening, Ladies and Gentlemen. Welcome to "When Bad Memories Get Worse, Should Somebody Be Hospitalized?" Tonight's Episode: How To Lose Friends & Alienate Customers In One Easy Step. Shawn & Shelley, you DO have names, and they aren't Shane & Sherri (unless y'all get into stuff like that sometimes...). Apologies of the highest possible magnitude for my gaffe. As for the Mothers Day wishes, I was totally unaware that there were little kartoffel·hadi blues afoot, so I assumed, with the same misfiring-on-all-cylnders logic that gave you guys new names (hey, don't knock it - new names, a wig or two - not necessarily an Eva Gabor, but why stint on quality? - , a cheap suit, and a hotel room can make for all the fun the law allows...) that there was some dry wit afoot. Sincerest & warmest (and, alas, most belated) Happy Mothers Day wishes to you. (And Happy Muthas Day to the rest y'all!)

This thread is a reall hooter, er....hoot, uh............never mind.... Seriously, I'm glad I've kept abreast of it and that nobody's made too big a boob of themselves. That would be a misfortune of mammarial, excuse me...MAMMOTH proportions, since it seems that some people, like fish, can be hooked by just a little nipple, excuse me, NIBBLE. It would serve all of us well to wean ourselves from this tendency and enjoy the teat, DAMMIT, TREAT of bemusedly mature aloofness shown by Mme. Sherri (dammit Shane, you better do right by her! ).

The jocks always get the good stuff...

They're all about the same, overall, in my opinion. Lots of kitsch over the top of moments of some really good playing. There were two "Zodiac" projects - Love Sex and the Zodiac (Fantasy F 9445) under Cannonball's name, and Nat's Soul Zodiac / Nat Adderley (Capitol SVBB 11025). This Nat item is the one I remember best, having a nude (semi-nude?) cover. OTOH, Cannonball's only on two pieces (it was tempting to "accidentally type "pieces"...). The Fantasy really doesn't stick out much in my memory at all, to be honest. Wondering what the story is on the Fantasy album - all the discographies I find on-line show it being recorded in Berekely in 1970, smack dab in the middle of Cannonball's Capitol contract, and released on Fantasy, but not, if memory serves, until after Cannonball was well underway with his Fantasy run. What gives there? Anyway, here's a site w/the details: http://corbusie.hp.infoseek.co.jp/cjadc.htm

Yeah. It's MY-T-FINE indeed.

Cat could definitely play! Ain't he on some of the earlier Gerald Wilson things too?

I think Land's mother took ill and Harold wanted to tend to her. Not sure what Teddy's trip was. At least he got captured on record w/the group, that GNP thing.

Rick Holmes was a popular L.A. disc jockey of the time who can be heard briefly on Elvin's Lighthouse album doing some announcing. You GOT to hear the Zodiac thing (actually, there were 2! - one by Cannonball and one by Nat)) - black light poster and Champale should come packaged along w/the album, along with an option for shag carpeting.... :D I agree that both of the Cannonball/Holmes projects have some pretty cool music going on underneath the surface. Somtimes you gotta REALLY work on blocking things out to get to it, but it's definitely there.

David - Sorry for the late reply, but a thousand+ thanks for this. The same also to all who have responded so warmly here and on the other boards. You guys are great! Wish some (all) of you lived in Dallas - we could actually have a thriving scene, or some semblance thereof. I'd like to say more, and might have the time to do so later, but for now, please accept this brief but sincere message as my warmest and deepest thanks.

As is this (but don't tell anybody, ok?)

That's doable!

Unless I'm totally off on all this, Land did tour for a while, but had to return/remain in L.A. for family reasons, necessitating his resignation. Edwards apparently didn't want to leave LA in the first place, thus Land's getting of the gig.

Looks to me like there's more than pictures being lifted in that image...

HUGE fan of Cabell's work on ACCENT ON THE BLUES (my vote) here, based on the LP version (how I came to know this album back in ye olden daze), a bit less so of his other work w/Patton, including the AOTB CD bonus tracks. Why? Easy - a totally natural swing, a totally natural tone, a complete lack of stress in his playing, some of the funkiest, bluesiest inflections heard on record for quite a while before or after, a sense of how to work within his technical limitations that bespeaks a rare musical intuitivity, a knack for hitting the right note at exactly the right time w/o even a hint of overplaying or doubt, and yet again, that TONE! You can sum all that up in one word - soul. Marvin Cabell on AOTB is as soulful a motherfucker as I've heard amywhere. Them chops was still clearly in the developmental stage, but to carp about that technical shortcomings at the expense of overlooking such pure soulfullness on a John Patton record, of all places, is high irony indeed! Check out Marvin Cabell on "Villiage Lee" and tell me that this was NOT one HUGELY soulful motherfucker! Cat wrote some good tunes too, icing on the cake. Intonation probelms? Nah - there's a whole way of "hearing" that comes out sharp in terms of "conventional" pitch. I've long suspected it's a carryover from so-called "African temparment", but have no proof. Still, you hear it in a LOT of "unschooled" African-American music almost as a matter of course. There's more to it than so-called "bad intonation, of this I'm sure. Besides, America used to be full of Marvin Cabells - brothers who came up learning the music on the street and in the clubs and who often had their souls together a LOT more than their chops. Some went on ahead and made up the difference, some KINDA did, and some never did, but continue(d) to play anyway, just because. The 60s & 70s found so many guys playing in R&B horn sections on and off the road going through exactly this process, and so did the local organ combos, while they existed. Most of them never got anything as "high profile" as a Blue Note date (although John Manning did), but Lord knows they were out there, moreso than many of us might realize, propulgating the sound of the soul of the street. Marvin Cabell, I suppose, is one of those guys you either get right away or never do, and there's no real "right answer". But I dug him the first time I heard him, just as I did ACCENT ON THE BLUES. We used to get REALLY stoned and listen to BN sides on a regular basis back in them days, and AOTB was always a fave for that deep, DEEP groove, the way Cabell rode it with such confidient, unstudied nonchalance, and for Leroy Williams unformed yet undeniable hipness. And, of course, Patton his ownself. Many years have passed, and the system is relatively toxin-free these days, but it's an album that STILL gets me high, and Marvin Cabell is still one of the major reasons. This probably TRULY explains nothing, but there it is anyway!

Yeah, the words "free" and "wife's birthday" don't go together in ANY context...

Yeah, like maybe the kids. What if the boys looks like Krall and the girls look like Costello? Seriously, I'd like to hear Krall take a crack at some of Costello's ballads. There's some good stuff there for her "icy cool" style that might work a helluva lot better than all the standards she's inadvertantly been denaturing over the years.

I can't think of basson withouth thinking of a mid-50s RCA album by bassonist Stuart McKay called REAP THE WILD WINDS that is jazz only in the most extreme foo-foo "West Coast" manner, but which features a version of "Take Me Out To The Ball Game" that is delightfully bent, including a vocal chorus that displaces the lyric by beginning it with the words "Take Me" on beats 5 & 6 (of a 6/8 bar ; it'd be beats 2 & 3 if you're counting 3/4) with a iii-ii pickup. The result is that the lyric finishes in a definitive "drop the other shoe, dammit!" place. Try it at home (if that description is too technical, just try singing the usual melody, only begin it with the the word "Out" rather than "Take", and you'll end up the same way). Thanks to the late Buzz Mezzner for making that one of the many of his albums he brought (and left) to his band directing gig. Music education indeed! Haven't heard Rabinowitz, but if he's comparable to Pizzi, then he MUST be a freak! (that's a compliment...) Frank Tiberi plays a bit of bassoon too, or did anyway. And whoever it was played the bassoon on "Saeta" has my undying admiration. I've never heard such soulful music out of the instrument in a "concert" setting.

Regular airing of this new release on KNTU prompted a purchase and I have to say that this one is a monster. Along with Von Freeman's THE IMPROVISOR, easily the best "straight-ahead" jazz album I've heard in many, MANY a year, driving home the point (as if it needs driving home...) that if you don't live it, it can't come out of your horn. Teddy lived it, and it DOES come out of his horn. Gloriously so. You can name that tone in one note, and if that ain't one of objects of the game, perhaps THE object, then I don't know what is. No signs of health problems either. If anything, the man sounds like he's going for broke knowing that his time is limited, and the chops were all still fully functional. I'll go out on a limb and say that this should be in most everybody's collection sooner or later. Carpe Diem. Teddy darn sure did.

Keep in mind that the Summer comes before the Fall...

The last few years I've been hearing some underlying tonal, harmonic, and rhythmic similarities between Gonsalves and Lockjaw Davis, similarities that are every bit as strong as their obvious differences. What gets me is how these two are such obvious admirers of Ben Webster, and do the Ben thing without really sounding like Ben at all. That's the way it should be done! And what is it about aome tenorists who delve into the Websterian tonal pallate that makes them prone to such harmonic outness? Here again, Jaws and Gonsalves are prime examples - what they do to changes sometimes defies any logical explanation. It's as if Ben's malleable tone opened up something in them that allowed them to take it one step further, from just bending and worrying a note to actually coming up with some new pitches outside the chord. Go figure. And check out LOVE CALLS.

Well, it's not that Carter CAN'T paly funky or lay down a solid vamp that grooves, it's just that I don't hear him doing it here. Might have been an off day for him, maybe he just didn't feel it, maybe the personal vibe in the studio got funky, who knows? Stuff happens. My bad in stating that Freddie Waits was on the unreleased session as well. Of course it's Morris/Muhammed. But what does it tell you that Idris Muhammed cops a better groove on an Andrew Hill date than Freddie Waits? Muhammed is a fine, often great drummer, that's not what I mean, but Freddie Waits was a FIREBREATHER, and I don't even smell smoke here. Regarding Ervin, I think that Chuck's (?) comment somewhere else a few weeks ago to the effect that Booker Ervin's accompanists made him sound interesting (or something like that) comes into play here. I don't necessarily take that as a slight (not a full one, anyway), becasue it takes a really confident player to hang w/a rhythm section like Byard/Davis/Dawson or the Mingus/Richmond whirlwind. But the fact remains, Booker's gonna play what Booker's gonna play, and if the accompaniment doesn't offer either some active rhythmic interplay or a REALLY strong groove (as was the case w/the Parlan/Tucker/Harewood trio), Booker's not gonna do anything different, and given his penchant for exclamatory playing, if there's no heat backing him up, as I feel is the case here, the net result is akin to a Sanctified preacher delivering a sermon to a Vermont Espiscopalian congregation - one guy's trying to get all worked up, but he's in it all alone, and the void is uncomfortable to experience. I actually feel the same way about Lee's work on this album, albeit to a much lesser extent. Still, the "crackle" that makes Lee Morgan such an unforgettable voice seems missing on this date, and I don't hear it as him just being "mellow". That, of course, is entirely subjective though. The thing about GRASS ROOTS that intrigues me, though, is that it was Hill's "comeback" album in a sense, made and released after a stretch of for whatever reason "failed" sessions. One wonders how much control Hill gave Wolff on this album, and how comfortable each of the players were with that control,especially seeing how the earlier session, which to my ears DID have some spunk, was rejected. Who knows what tensions were in place as the players tried to make a "keeper" for Hill and Wolff? Maybe Hill really, REALLY wanted an album with what he perceived as "popular appeal" and made that known going into the session. Maybe the "big chill" was there as a result of everybody consciously playing it safe for just that reason. Or maybe not. Maybe the original GRASS ROOTS is one of those albums that I just don't "get" the way it was intended to be got. Seems like enough people like it well enough, so that just might be the case!

Hmmm...I've got some Wallace Roney albums that I bought just to hear Geri Allen, so this is a rule I'd have to bend on occasion. Then there's Louis & Lil, Stanley & Shirley, John and Alice... And what about T-Bone Burnette & Sam Phillips? Or John & Michelle Phillips for that matter? Jackie & Roy? (not my bag, but still...) Now if you're talking Steve & Irene, count me IN!!!! :D:D:D