JSngry

Daktari was off the air by then, lol. Did that record sell weii? It was on a buttload of Atlantic inner sleeves, if that means anything. What caught my eye on this one was the presence of Pete Robinson. That guy seemed to have attracted some interesting...things, at least for a quick minute there

I think it's interesting that on Outside, it's Manne's band, no question about that, yet he "appears by courtesy of Atlantic records". Did any Contemporary artist make an Atlantic record in reciprocation? Or maybe Atlantic found the music too...whatever and Shelley to it to Lester Koenig who said hell yeah, I'll do that! Manne had, what, three releases on Atlantic? Outside might have been the fourth, or an option album? Max Roach had four, but there was a gap between the third and the fourth...and only the first seems to have been supported by the label to any real extent. Maybe Atlantic had enough good-selling jazz records that they weren't needing anything outside the box, even if it was by Shelley Manne?

This 1970 release is apparently destined for obscurity, so let me do my part to prevent that... This front line made two records that got decent enough circulation - one for Mainstream that was released in it's time, and then another one, a live date from London that came out on Contemporary a few decades after the fact. The Mainstream date is a bit aimless, but the Contemporary date is quite a few notches better. This one, though, is an altogether different animal, due to two key, different presences - Pete Robinson instead of Mike Wofford and Juni Booth instead of Jeff Castleman. It sounds not at all unlike a Woody Shaw or Joe Henderson record. Personally, I think it's a valuable document as to what who was doing what when and where. It's also an above average record. How it missed getting OJC-ed at all is beyond me. Oh, read those liner notes ..

You read it here: http://www.organissimo.org/forum/index.php?/topic/86844-crime-and-spy-jazz-on-screen-1950-1970-a-history-and-discography Your thread, my post

uhhh...

Always "interesting", and sometimes interesting. Definitely a guy looking to move into something different.

I thought it was because they were sure, steady sellers.

Lisa Bell - Late Night with The Clapper

Clara Barton Dee Barton Barton Fink

Mungo Jerry Clara Ward Hugh Beaumont

Lisa Bell - Hear Ye, Hear Ye!!! The Clapper Sings!!!

Yes, with a m. Yes, only their own stores, but their stores are also "markets" as well as ice cream stores as well as hamburger/etc. restaurants. Not available anywhere else. https://orders.braums.com/categories/

Spanky Wilson Pat Carroll Timothy Bottoms

Maybe there's a regional equivalent that's even better. There always is, to hear other people claim.

It's weak. And it should have stayed in the can, period. That it's being used as the lead cut for this release lends credence to Lon's suspicions, imo. If that's the best they got .. And I am totally serious about Marcus Miller, as both bassist and producer. Whatever one thinks of his work, one dismisses his very real (and pretty broad/deep) skill set at the risk of a fool being made.

Hey...

They ain't fuckin' around with this one

https://www.emmickfunerals.com/obituary/Peter-Gallio#obituary

Lisa Bell - Here Comes The Clapper!!!

Yeah...a track like this belongs in a This Is Why You Need Marcus Miller boxset.

I mean, that's a cool thing to think about, and an even cooler thing to do once, but as "art", it's really the ultimate in "pop" - it feels good for a minute while you do it and then its over, after which, who cares? Who's going to do THAT again? But, you know, somebody will, especially if "concept" is all they got in their pocket. I love pop, but not when the celebration of the immediate is seen as an imperative for it to become permanent. Time sorts most of it out, but sometimes good stuff gets snuffed out due to inattention, attention that might have been better directed to more than the most immediate heat-seeking missile. "15 minutes of fame"...that's like Satan telling you that you can have anything you want, it tends to result in bad choices being made that seem SUPER in the short term.

I would not say it's the very most distinctive (the duets with Russ Freeman would certainly be a contender as would The Three & The Two, but it is certainly one of the most distinctive, for sure. It's just one helluva great record (and OMG HAWK!!!!!!!!), and don't forget the track of "Avalon" that was left off the original LP!!!

"need" might be a bit much, maybe? But "want" is exactly right, most likely!

it's the "just a rich kid, acting privileged" that's a disqualifier for me. A rich kid, sure. She had money and she was young. So, that's a given. But many artists act "priviliged", because they think that their "art" is something the world needs to experience. So "just" stops the consideration with "rich", and really, that's just silly. Hell, many of today's "jazz musicians" are ensconced in NYC proper due to some kind of wealth, be it inherited or, gasp, actually earned. and some of them can actually play!

Oh, are we wealth-shaming now?