chewy-chew-chew-bean-benitez

W O W

fresh sound has a website??

yes, what is the personnel/date/tune info for the following: 180 Bob Gordon - Bob Gordon Memorial 179 Bob Cooper - Milano Blues espically the bob cooper

DMP::: WHAT IS YOUR RATIONALE THAT CAPITOL/BN WILL NEVER REISSUE THOSE LPS? JUST CAUSE THEIR LATE PERIOD WORLD PACIFIC? ALL THE MORE AWESOME IF YOU ASK CHEWY.

chuck nessa you are just sprinning out with the zingers like nobody's business lately- props to you!

yea yea reissue this, reissue that, michael cuscona this and that.... GENESIS US TOURDATES: 09/07 - Toronto ON BMO Field 09/11 - Boston MA TD Banknorth Garden 09/14 - Montreal QC Olympic Stadium 09/16 - Hartford CT Hartford Civic Center 09/18 - Philadelphia PA Wachovia Center 09/22 - Columbus OH Nationwide Arena 09/23 - Washington DC Verizon Center 09/27 - East Rutherford NJ Giants Stadium 09/29 - Cleveland OH Quicken Loans Arena 09/30 - Detroit MI Palace of Auburn Hills 10/02 - Chicago IL United Center Coming Soon 10/09 - San Jose CA HP Pavilion 10/12 - Los Angeles CA Hollywood Bowl

891-H George Duke George Duke (Liberty) c.69-70 again, from the pac jazz disog.--- what is this lp? whos on it? what songs?? THIS LOOKS SO GOOD

is it listed before sunset eyes in the digog. but i thought sunset eyes was his only PJ album?

steve howe always talks about when he met him at a club in london

a long time ago, maybe four years ago, i was chillin w/ the trio part of the b.m. trio in my car playin' them hank mobley bootlegs after the concert, and the whole time they were all sketched, they were all like: "i hope *brad* isn't wondering where we are", or "i sure hope *brad* isn't mad we left." lol

i didnt know that Ozzie Cadena son is the guitar player for BLACK FLAG....its on the savoy wikipieda entry!??!?

so savoy really continued on into the 70s?!??

parrot was just like crown- it reissued other labels material, such as chess and checker. thats why it was called parrot, beacuse thats what parrots do: emulate or reissue the sound that the human makes, dig? and re: the pic--- why aren't all records on coloured vinyl. why didnt blue note make their lps blue: that would of been so cool

The standard date for the Coleman Hawkins session is clearly wrong. Following all existing discographies, John Chilton's book The High and Mighty Hawk puts this session on May 27, 1954, while Hawk was headlining at the Beehive in Chicago. But the releases on Parrot 783 and 784 took place in September or October of 1953. And their matrix numbers are early in the 53100 series, sandwiched between a batch of sessions from August 10 and another bach of sessions from September. And the date wasn't May 27, 1953, either. Coleman Hawkins was pictured in the Chicago Defender of June 4, 1953, annoucing a gig at the Beehive slated to start on June 12 of that year (Hawk's contract for 4 weeks was accepted and filed by Local 208 on June 18). Hawk moved to the Toast of the Town after completing his Beehive engagement; members of his band on that job--Laurell Howell, Tom Phillips, and guitarist Leo Blevins--were hauled in front of the Board of Local 208 on August 20, 1953 because of some dispute arising out of Hawk's gig. (Unfortunately, Local 208's Secretary William Everett Samuels, who had a gift for taking down beefs using the speech patterns of the contending parties, was on vacation, and his stand-in didn't bother to describe what the dispute was about.) Our conclusion: Hawk's Parrot session took place in August, during the Toast of the Town engagement. The gig was over by the end of the month, judging from the fact that Leo Blevins next picked up a job as a leader at the Paris Club (contract posted September 3). (The matrix numbers 6994-7001 were affixed to these tracks after Savoy purchased them in 1956; Al Benson attached Parrot matrix numbers only to the four sides that he decided to release.) Coleman Hawkins, the father of the jazz tenor saxophone, should need no introduction here. Born in St. Joseph, Missouri, on November 21, 1904, Hawk broke in with Mamie Smith's Jazz Hounds in 1920. He began recording with Fletcher Henderson's big band in 1923 and by the middle of the decade was a star soloist. The 1950 - 1954 period was a down time for Hawk, who, like many other Swing-era stars, was having a tough time getting recorded; his 12 sides for Parrot are one of his biggest bodies of work from this period. Since Al Benson usually cut 4 sides to a session, and sometimes reduced his target to 2, he must have been thinking of putting out an LP on Hawk. But if that was the plan, nothing ever came of it. (Incidentally, Benson committed one of the all-time great bloopers when he rendered "I'll Follow My Secret Heart" as "I'll Follow My Sacred Heart"!) The Hawk releases that we have heard back him with organ, piano, guitar, bass, and drums. We thought the organist was Lonnie Simmons, who was in the midst of a long-running gig at the Club DeLisa at the time, and would record his own session for Parrot in a couple of months. But Craig Browning notes that the organist sounds like the legendary Les Strand (who was credited, in an entry in Leonard Feather's encyclopedia, with making his debut on a Coleman Hawkins recording for "Peacock"). Comparing these sides with Les Strand's 1957 LP for Fantasy, and Lonnie Simmons' own session for Parrot, Browning says that Simmons "plays with more block chords and heavier vibrato than does Les Strand" (email, December 21, 2004). The guitarist solos on "Blue Blue Days"; he appears to be Leo Blevins, who was on Hawk's Toast of the Town gig. On "What a Difference a Day Made" Hawk's accompaniment swells to include a rather square choir, though unlike their counterparts on Charlie Parker's "Old Folks," they sing nothing but scat syllables. The choir, still restricted to nonwords, resurfaces on the second ballad, "I'll Follow My Secret Heart." The pianist gets a solo on this number. "I'll See You Later" is a straightahead jazz performance. Strand clogs the texture a bit, and his solo is definitely pre-Jimmy Smith, but Hawk keeps the number aloft. To complicate matters, Browning suggests that the tracks that were given matrix numbers 6994 through 6999 by Savoy later on came from a different session than those later numbered 7000 through 7003 (including all 4 sides that Parrot issued at the time). The piano is out of tune on 6994 through 6999, in tune on the 7000's. Hawk is the dominant figure, soloing eloquently on his Parrot sessions. We just think Al Benson would have done better musically--and saved on session expenses--by sticking to four rhythm, and losing the choir that he included on the ballads. Hawk would soon rebound from this period of lowered exposure; in his fifties, he would record extensively, often working with modernists like Thelonious Monk, Randy Weston, and Max Roach. He died in New York City, on May 19, 1969.

so it was recorded in chicago?

you guys are so weird- this is actually the only keith jarrett album i DO like.......

actually phil has a website, those 2 i mentioned are the only cadets, the previous ones actually being early r and b sides on Vee Jay-- he offers a cdr set of his whole discography on his website for 1000 big ones!

well thank god the store i thought that had a copy still had it, for only 6 big ones to boot (one store got the lp in for 25 big ones, would of had to get that if the cd store failed me)-- anyways suprisingly, the cd lists only bean, and "boddy"? smith, drums-- and p, org, b, and vocals are unknown are they still unknown, as of today, 3-5-07? or does anyone have the info? (brownie-chunks, im looking in your direction ;) )

i have plays pretty on vinyl- mint A ++ its niiiiiiice. his sound is much better on this than his later records- he has a more old skool hammond sound that really works better.

ps- im very suprsied youve even SEEN a crown lp in france brownie--- certainly there was no offical distrib. for them over there--

and whorehouses, police stations and hospitals-- all the niche places traditional record stores don't touch- they were really true geniuses

i have THE WAY I FEEL- phil w/ string orch and wordless vocal choir- have it on 30 year old cassette tape- one of the best albums ive ever heard, ever (i dont know the year of this one) just got today UPCHURCH, from 1969- w/ donny hathaway on piano, cant wait to play it BUT I KNOW THERES LIKE 4 or 5 OTHERS-- what are they like, and when were they from? anyone ever hear any of these- are they very hard to locate?

i know the Hawk returns- long oop- but what is the best way to hear his savoy output, which i believe was a few lps------

well, *I*, chewy, played the "last savoy sessions" cd set last night (only cd 1)