JSngry

My guess would be some kind of SF/Bay Area connection. yeah, per: https://www.bluenote.com/artist/julian-priester/ Priester worked with Duke Ellington for six months during 1969-70, and shortly thereafter accepted his highest-profile gig with Herbie Hancock’s Headhunters-era fusion band. Upon his departure in 1973, Priester moved to San Francisco and recorded two dates for ECM, 1974’s Love, Love and 1977’s Polarization. I think they mean Mwandishi, but otherwise, it's a fit.

That math works for me, but adding Bobby Jones AND Jon Faddis, not so much. I like Bobby Jones, but the weight of his playing is ultimately neutral for me. "Neutral" is not really what I like to get out of Mingusmusic.

Ok, I know what you mean then.

Faddis is a big minus for me (especially over 3 CDs), and Jones is not a really strong incentive. OTOH, McPherson with Mingus, all day long, yeah. I guess I'm in, somewhere in time I guess I signed a blood oath to Mingus records.

Prestige did those The Gene Ammons Story two-fer LPs that they ported over to CDs (didn't they?). Those were nice, but... Whoever satisfactorily solves the Gene Ammons Presentation Puzzle gets some kind of Nobel Prize, right? Lovers with Gene Ammons know that 34 minutes doesn't even cover initial foreplay...

How bad does that Bode sound? Would you give it to the kid, or would that be punishment?

hmmm....

What's funny is that Johnny Taylor almost immediately incorporated that song into his live show, leaving a legacy of audiences who thought that it was HIS record!

By default? Did it come with the house? Nice neighborhood(

All the way seconded!

Getting accurate sales numbers for that Charlie Brown record might be difficult...Fantasy was totally an independent label, really until the sale to Concord All I can find for sure is that one day it was certified 4X platinum. How it got there...who knows?

It was on one of those Boris Rose LPs iirc.

Haven't listened to that one in a while...Hank jones' comp is REALLY interesting, he's suggesting changes that nobody wants to follow (at least they don't....although Trane is listening, as he always did)) but it's ok, they don't clash or anything, but then in his solo...even HE doesn't fully call them out , but, whoa, that's some top-shelf humanity right there!

Jam-Lewis...like all great pop productions, very specific, So, you can mindlessly groove out in/on the whereever OR you can pay really close attention to all those details...and either way, they will be there for you. As they say, if it was that easy....

Everybody loves somebody sometime.

https://jazztimes.com/features/profiles/georgia-anne-muldrow-blazes-her-own-trail/ she's still here. And continues to be.

Jeanne Tepezza - Less Eye Bulging, More Cool Shades!!!

Allison MacKenzie Father McKenzie Thomas Woods

I mean, this could have been so much better than this. SHOULD have been better than this. I guess I could blame Lou for not really trying, but ultimately it's the producer's job to get everything right. Same tune, same chart (mostly) but just put more sex and less somnambulism into the thing. If them boots were made for walking, then this pillow was made for sleeping! To the best of my knowledge, this record was not a hit, certainly didn't get played on the radio shows here that were playing other things of this overall ilk, so...if the object is to communicate to an audience, and the audience doesn't care about it, then the object has not been met. Simple as that, right?

Ok dude, check it out. I think we have made it right.

Get them all, they're all good, they're all about the same, and if you like one, you should like them all. Having said that, though, the one with Red is a cut above because Red Garland.

Jimmy was from Texas, you know...

Don't know what that has to do with Lou Donaldson's increasingly sub-par run of 70s Blue Note (and Cotillion!!!!) records, but ok. Sophisticated Lou gets a pass (and a bit more, actually) but other than that....George Butler did not have the...you name it...to make the kind of record he thought he was making for Lou Donaldson. And then when Lou and Blue Note separated...my god... You know, if you're making product for the marketplace, you - the producer - owe it to yourself to know your artist, first, but even more importantly, to know what a good record sounds like, and looks like. Everything - songs, arrangements, recording, mixing (and maybe mixing more than anything), just everything. Lou got good (enough) covers out of Blue Note, but in a market where his completion was Grover Washington and Hank Crawford...he allowed himself to be severely underserved by his labels.

Hank Crawford made consistently excellent records, regardless of context/producers. Lou Donaldson did not. Just because something is commercial doesn't mean it's all the same. There's good ways of doing it and not so good ways. In a producer's music, production choices matter.

It looks like you responded to one of Jeffcrom's posts but somehow some of what you were quoting got out of the quote and into your post. I've seen it happen the other way around, where somebody's response to a quote ends up inside the quote, but I can't say I've seen it happen the other way around until now. No idea how that happened...it was from 2013, and a lot of stuff happened since then. But if you want me to correct it, I can (I think....), and I'll make the edit notes publicly visible.