JSngry

"Legend" has it that Norman Granz was interested in releasing the Massey Hall tapes and asked Mingus to name his price. When Mingus asked for $1,000,000, Granz demurred.

Get a copy of LIVE IN TOKYO by any means necessary.

Beyond the Blue Notes, don't overlook: SALT SONG, CHERRY, & DON'T MESS WITH MISTER T on CTI. These two are easily dismissed or downplayed for their sheeny production, but that should not obscure the very real, high quality, quite soulful playing that is going on from beginning to end. The kind of stuff that gets under your skin and refuses to leave, all without your knowing it's happening. I actually prefer these 3 to SUGAR. T TIME (Music Masters) - yeah, it's got that yucky digital tinniness to it, and yeah, it's basically a rehash of your memories of the good ol' days, but what the hell? Turrentine is loose, inventive, and flowing throughout, and if that's not enough, then why bother with him in the first place? WONDERLAND (Blue Note, 1987) - funky, poppy, Stevie Wondery club music. It ain't heavy, but in its best moments it's your brother. Definitely one for parties! And lest we forget, best grab this puppy, like, YESTERDAY! Don't ask why, just do it and be glad you did.

http://www.vervemusicgroup.com/verve/artis...st.asp?aid=4834

A perfect example of why Cool, Hard Bop, and their various offshoots were at once imperitave social evolutions and a step backwards musically. What you hear on Massey Hall is not "Bebop". Or maybe it is. Either way, there is so much happening in this music at all levels (intellectual, emotional, technical, whatever) that it is beyond categorization as anything other than individual and collective genius. The music as a whole had to change because, simply put, only a handful of people in the history of the world have had the genius to operate at this level, and as inspirational as genus is, it ain't going to take the world by storm in its pure form. There just ain't that big a market. At the end of the day, genius, TRUE all-encompassing genius, IS the real deal, with any/everything else being perhaps more comfortable, more familiar, more easily confronted, and therefore seemingly more "enjoyable", but to ignore the very real qualities of genius and try to somehow work around them as if they are the downtown home office that we, the attendants at various branch offices in the suburbs will never really need to know all that much about, much less ever visit or, God forbid, WORK at, is at the root of the modern malady of comfort without conscience. Yes, Virginia, some people really CAN make music (and other things) that is/are virtuostic in the extreme AND is full of imagination and soul. But it takes a rare combination of intensive labor and intense imagination to do this. It takes a LOT of time and a LOT of courage, to say nothing of the luck of the genetic draw. Those of us who through no fault of our own, as well as a few faultsthat ARE our own, who fail to reach this pinacle of genius (and really, that's mostly all of us), need not feel like failures, or even console ourselves with the resignged acceptance of being "average". We are who we are. But dammit - there IS such a thing as genius, as endeavors that are of an absolutely unsurpassable level of perfection, and we sure as hell best acknowledge that if we expect to lead anything even remotely resembling an honest life. This is not an Album Of The Week - this is an Album Of Eternal Truth And Beauty and all that other artspeak crap. More to the point, this is music that is, quite literally, As Good As It (or anything else) Gets, or CAN Get. Period. Personal taste and/or preference doesn't enter into it, not at this level. Minmize that fact at your own peril!

Is this some kind of arcane and/or ancient practice that's being rediscovered?

HELL no.

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...