JSngry

By cleaned up, I was referring to what the YouTube guy did to the audio. What kind of ears hears that as an improvement? What's really freaky, though, is that it appears that they used this ending on some kind of syndication package. I got a Roku channel that's got 320 episodes of episodes (8 seasons!), some damn near totally intact with commercials (another thread, perhaps). So it's really disorienting to watch an episode from 1954 or so, where everything is so totally, organically "whitebread" and then all of a sudden, here comes Soul Jazz piano to roll us on outta there. Freaky!

I think there's a hoot and a few lean-ins that are distinctively/uniquely Turrentine. But they only happen on that one solo. It seems unlikely that they would contract him just for one solo , at least in 1963. But, that one solo....intriguing.

My first was the one on Sunset. My second was in Las Vegas. Both visits were in early 1981, so the game was ON!

It sure sounds like Stanley to me too. BUT - there's another tenor player on a lot the rest of the record that plays great, but is definitely NOT Stanley Turrentine. Example: So who is THAT? This is ca. 1963, so...Seldon Powell? A little early for Harold Vick (or not?). Couldn't be just "anybody", there's a real personality there and just a bit (but just a bit) of harmonic "quirkiness". Still, that one solo SURE sounds like Stanley.

full-length version gets less soul-jazzy and is ruined by somebody "cleaning it up". This was the doing of Jimmy Haskell, who was at Imperial Records with The Irrepressible Ricky, so that could have been damn knows who playing that! However, check this out, probably not by Jimmy Haskell (but maybe so, or maybe Ernie Freeman, hello Imperial Records), I'm pretty sure (and also not Soul Jazz):

Unambitious, although to be fair, also uninspired.

Don't jump to any immediate conclusions one way or the other, there's a LOT of factors to consider here, not the least of which is the weirdass tone-color -neutralizing EQin and mix. But a few moments sure sound like they couldn't be anybody else? and while we're at it, check out that bass player...

https://www.jazzpharma.com/

NP: An under-produced disco record.

A local Super Sleuth found it here, totally buried. per: https://www.naxos.com/catalogue/item.asp?item_code=8.111362

1950 Columbia 10". Not sure if these performances have been issued other than here? Ok, Stokowski/Schoenberg is here: https://www.amazon.com/Classic-1947-1949-Columbia-Recordings/dp/B07VN3LGXY Ormandy/Berg, I cannot readily find. Anybody know?

There's a singer for you.

I'd recommend not jumping to too hasty of a conclusion on the Nancy wilson records. some of them sound better to me as they years go by than they did at first listen. The thing about them is that even when they're mostly standards, and have big-band backing, very few of them are really "jazz" records, they're more "jazzy-pop". Once I adjusted my perspective accordingly, I started enjoying them more. No matter, if you ever come across a copy of TLC, carpe diem. That one is a real gem, period! Buster Williams and Shelley Manne! That's such a soulful song, no matter who does it.

Heard this yesterday on the CD-player-less rental car: Found this on YouTube this evening: Definitely a win-win!

For underground metaphors You can scrape an inch below the turf, for what it's worth My style's been developed in the core of the Earth The exhale's volcanic, the inhale is seismic So brothers just panic when the Live one arrives with The natural ability to run through your crew From 2-1-4 to 2-1-3 to 2-1-2 In other words, from Dallas, to L.A., to the place where J stay Everyday is mayday So you can talk your shit on how you're wettin' MC's With mad blood stains but I'll bet you can't stand the rain I look upon your brain with disdain Go back and reflect on my endeavors black I can't complain It's like a raw deal, consistent with the way I make you feel The ends stay revealed while the means I conceal And those who try to steal get decapitated You wanna snatch my H2O-type flow, but it evaporated I displays my credentials over instrumentals And my potential, increases at a rate that's exponential It's detrimental questionin' my thesis The penetration's exact, like amniocentesis I rip your rhyme to pieces after drainin' out your fluid My vocab is fluent, yours is evident of being truant I know you wanna make moves but son you best to take a second look Before my knight takes your rook Cause everybody's rapping, and only few can flow So why the hell they trying to deal with Live I don't know I handle true MC's on their block or at their show So if you got some bullshit, please keep it on the low Cause yo, I got the hair-splittin', self-written unbitten style That leaves the competition running scared and shaking in their pants You best to set it off cause black it ain't no second chance Once I'm open, all you doing is hoping that the Live one Will put the mic down, but son don't try to snatch it after The laughter won't cease from the comparison, how dare you son Step around the booth when I'm on The microphone magician says poof, you're gone with the wind There's no trace of your friends cause you don't know where the Beginning ends or where the end begins But you see that's the difference, you get sold, I get paid Black I told you, get paid If you're broke I'll have to rain on your parade You belong in special ed if you think you got it made J-Live with the mic is like the chef with the blade Cause suckers get sliced and sauteed Yeah, you thought your joint was fly but the flight was delayed Because Cause everybody's rapping, and only few can flow So why the hell they trying to deal with Live I don't know I handle true MC's on their block or at their show So if you got some bullshit, please keep it on the low Cause everybody's rapping, and only few can flow So why the hell they trying to deal with Live I don't know I handle true MC's on their block or at their show So if you got some bullshit, please keep it on the low Cause yo, I take the grey matter of pretenders Through my mental blender, and then return to sender My pen don't pretend to offend I intend to render MC's, hanging loose like a fender bender I recommend regardless of your gender That you strike fucking with J-Live from your agenda And remember that whoever lends a helping hand to defend ya Will get burned to a cinder As I end the, reign of wack MC's with their suicidal tendencies Rendering me sick, with the thoughts of killing enemies But then I return to reality Metaphorically murdering MC's when they battle me You can't rattle me I'm not your average snake slithering through the grass I surpass the serpent as I head to class You consider me crass as I wax that ass; style's no joke But you best believe I gets the last laugh

https://getpocket.com/explore/item/a-preemptive-eulogy-for-the-cassette-adapter

Not sure about that one, but one of the earlier ones, yeah, I could see that, definitely. Seems like there's definitely something there, in those audiobooks, just not sure how much for how long.

Listening to a few minutes of My Gun Is Quick and there was tenor at the end of the first chapter, right before the sample ended.

I bought it.

The type of upbeat, sunny, joyous, life-affirming, positive-energy music that seems unique to the 1960s.

Marvin Cabell played with a "neighborhood" sound, simple as that. To that end... Fuck Richard Cook and whatever neighborhood he rode in on. I love Marvin Cabell's playing. If you haven't heard his solo album, by all means, do. It's totally "neighborhood".

Yikes! That sucks. Lambert, Bean, & Percy.