robertoart

How did you find out what was going to be released and when, back then. Did you have to rely on relationships with record store owners? And yes, Grant would have been great on CTI. Especially early. I read that because CTI didn't have the funds at first for the big productions, they recorded their initial signings in traditional settings, so we got Benson's Beyond The Blue Horizon and Stanley Turrentine's Sugar etc. Two of the great LP's of their careers.

Something interesting I heard in a recent Lonnie Smith interview. He says that immediately prior to forming the band with George Benson, Grant Green's manager Jimmy Boyd had arranged with Lonnie Smith to play on a Grant Green Blue Note session at Rudy Van Gelder's. Lonnie Smith says he got cold feet and didn't turn up (because he had only been playing for a year and didn't have the self-belief to play on a Grant Green date). Lonnie says Jimmy Boyd arranged the session again the next day, but he chickened out once more. So when would this have been? Wasn't the Benson/Smith/Cuber band formed in late '65 early '66? Means the session was either during Grant's time at Verve, or just after. Maybe it was actually a Verve session Lonnie was hired for. Or maybe later in '65-'66 and it was Blue Note. So we could have gotten a Blue Note or Verve Grant Green album from then, with Lonnie Smith on organ. Damn Mr Smith Wish you had turned up The interview is fantastic, but hard to link to. So I have paraphrased. He also talks about George Benson and he going to see Grant Green, and sitting in on his gig, just around the time they formed their own band. And Grant not letting Lonnie off the bandstand. Lonnie says from then on, Grant was always trying to get Lonnie to play gigs with him, so much so, that Jimmy Boyd had to ask Grant to stop coercing Lonnie, as he was jeopardising his relationship with George Benson. Apparently, Boyd told Grant, 'you've got your band with Larry Young and Candy Finch - leave young Lonnie alone' Lonnie Smith also says, that whenever he could not find or afford a guitar player for gigs, Grant Green would play for him - for free. Fascinating interview.

Could be your right. Very heavy vibe on this one. 1973. And Chuck Rainey. A good counterpoint to the Joe Simon. Found this interview while googling the song. Worth linking I think. Funny reading her talking up the Stones My link Look forward to getting this one. I think I have a couple of tracks on compilations. I have grown to appreciate Ronnie Foster more and more. Seems a lamentably overlooked musician these days.

Does Adrian Ingram post here? If not he would probably be easy to reach. I think he is an academic. I've always wanted to read that Wes book too. Was it his PHD thesis paper perhaps? I've got his Wes DVD. It's very good. You can tell he's an experienced teacher. He even asks what OGD stands for. I found out it's Organ Guitar Drums.

And the recent documentary footage shows he's still got it. It's incredible alright.

**** this is awesome! Just sayin'.

Well that old thread is still speculating about the context for the Iron City session. Which now appears to be solved. Except for the John Patton/Larry Young mystery and the 'lost Verve Session tapes' It's much like Iron City, not Funk in the literal sense. The Verve Willow Weep For Me is quite majestic.

RU Serious? You haven't heard this? You can find lot's of first issues on Ebay. I think they all will have vangelder stamps. And they are usually cheap because the Blue Note collectors are not as mad about Verve. It is also my favourite GG cover photo. Sometimes I just take the Album out and look at the cover. Some of his best playing. There is another Cantaloupe Woman on here. On the liner notes they say 'Grant is digging into the juicy innards of the fruit'. You will dig it too. Who knows why he went to Verve? Creed Taylor chased him up maybe?

My link

I find I say the word cool when I am being lazy and can't be bothered to speak. Or else find I use it to acknowledge what someone has said and move on or end the verbal exchange without appearing to be rude. I think I may have started noticing the word was back in vogue a few years ago, and I started using it again. Was the Fonz exclusively responsible for popularising its use in the late seventies. That's what I remember. BTW does anyone think The Big Bang Theory is really Happy Days for Gen Y. I mean the plot centres around 4 guys, with one Alpha male in each 4. Whereas The Fonz was cool, Sheldon is like the 'anti' Fonz. Richie is like Leonard. And then there are two other B-plot characters. Penny is the anomaly in this 'theory' though.

C'mon Amfeny

One can never have enough 'constant bluesiness'. Especially in the hands of harmonically aware players. Just listening recently to Houston Person and Ike Quebec play some ballads. Or am I missing your point.

I often read term 'playing the dozens' used when people talk about Jazz. Is this Wikipedia entry an accurate guide to its meaning and use; The Dozens is a game among two contestants, common in African American communities, where participants insult each other until one gives up or violence erupts. It is customary for the Dozens to be played in front of an audience of bystanders, who encourage the participants to reply with more egregious insults to heighten the tension and consequently, to be more interesting to watch. Among African Americans it is also known as "sounding", "joning", "woofing", "wolfing", "sigging", or "signifying"[1][2], while the insults themselves are known as "snaps".[3][4][5] The origin of the game is unclear, but it has roots in Africa: similar contests are held in Nigeria among the Igbo people, and in Ghana. Comments in the game focus on the opposite player's intelligence, appearance, competency, social status, financial situation, and disparaging remarks about the other player's family members—mothers in particular—are common. Commentary is often related to sexual issues, where the game is then referred to as the "Dirty Dozens".[6] According to sociologist Harry Lefever and journalist John Leland, the game is almost exclusive to African Americans; whites often fail to understand how to play the game and can take remarks in the Dozens seriously.[note 1] Both males and females participate, but the game is more commonly played among males of varying social status.[1] Several theories have been put forth to explain why the game was developed. One hypothesis from 1939 suggests that the game formed as a way for African Americans to express aggression in an oppressive society that severely punished such displays against whites. Another theory from 1962 highlights the game's focus on one's opponents mother is a reflection of the dominance of females in African American families and how young males may feel rejected by females and react accordingly. The importance of mothers in African and African American families is at the heart of the game: insulting someone else's mother is sure to inflame the passions of the other player. The Dozens is a contest of personal power: wit, self-control, verbal ability, mental acuity, and toughness.[6]

I had no idea who Bernie Brightman was, but your post made me laugh so much I could not resist a quick search. And I see he was responsible for 'Reefer Songs'. A classic LP in many a young persons jazz journey I suspect. And he never paid royalties - alledgedly BTW I wish Bob Porter would post here. I have really enjoyed his recollections on many re-issue liner notes he has written. I remember reading he was going to write a book, but I suppose it never eventuated. I keep meaning to check out his radio show over the net, but keep forgetting. I think I met Bob Porter in the mid '70s - maybe earlier. He hated the music I recorded (really hated) and was not an admirer of Von Freeman (he later bragged to me about all the edits he made to the Willis Jackson/Von Freeman date issued on Muse). In spite of this we became friends and probably ate/drank together around 3 times a year for quite a while. I even stayed in his basement for a night or two. Bob is a great guy who believes Roscoe, Lester, Braxton and more of my friends are a sign of the end of the world. Bob has a large, resonant voice as you might be able to tell from his radio shows. At one of these indie conventions he saw me across the hotel lobby and shouted "Nessa! After recording all the shit you put out, how could you make the record of the year!! The Warne Marsh is a Mother Fucker!!" Bob also wrote the notes for my Lucky Thompson release. I wish we lived closer together so we could have an occasional beer or two. Just listening to WBGO now. Doug Boyle's on. Talk about a gruff voice for radio! And Bob Porter's on later I might make a long distance request for some Frank Wright

He dropped the Alexander from his name because nobody would take his trumpet playing seriously. Kept asking him about the phone.

I had no idea who Bernie Brightman was, but your post made me laugh so much I could not resist a quick search. And I see he was responsible for 'Reefer Songs'. A classic LP in many a young persons jazz journey I suspect. And he never paid royalties - alledgedly BTW I wish Bob Porter would post here. I have really enjoyed his recollections on many re-issue liner notes he has written. I remember reading he was going to write a book, but I suppose it never eventuated. I keep meaning to check out his radio show over the net, but keep forgetting.

I like Sickert a lot - but some of his paintings are so dark, tone-wise, darker than anybody elses I've seen I think. I guess London was dark then... almost invisible art right there I know quite a few painters who really like Sickert's works. I do too. Yes they can be very dark alright. Did you know he was once suspected of being Jack The Ripper. I think this was bought up in the media recently. I remember reading The Horses Mouth when I was a teenager and later learning it was based on Stanley Spencer. It was a funny book to read as a young person, but very rewarding.

My link

Alert! MG is listening to avant-garde musicians: George Adams, Byard Lancaster, Yusef Yancey, Garrett List! Have you heard this yet MG? Hank Marr with a very young James Blood Ulmer and George Adams. It defines the word 'raw' . Apparently this band played the clubs in Germany. A very kind man named Arthur Shoulders made a needle drop of this LP for me over ten years ago. I promised to send him a fiver for his generous gesture, but never got around to it. Dear Mr Shoulders, if you read this board, please PM me and I will send you a tenner instead. No - I've wanted that one for YEARS! Playing vinyl this afto Stan Seymour - Everyone loves Bermuda - Edmar Pharoah Sanders - Black unity - Impulse (MCA Germany) Leon Spencer - Where I'm coming from (From whence I'm coming?) - Prestige now Earl Bostic - Jazz as I feel it - Earl Bostic - King Mine's stereo, with a blue label. Very heavy pressing. Groove Holmes & Joe Pass had much fun on this. Well, everyone did. MG Here is a link to a youtube upload of the Hank Marr Lp. Any idea who the drummer might be MG? Or anyone else.

Interesting thread. The National Gallery here in Melbourne collected lots and lots of post-Picasso British painting during the 20thC. So I got to see a lot of it first hand. From Sickert onwards. Often much of it was in storage (along with the massive amounts of Victorian era British art) so you could often discover works you never knew about, as they were trotted out over time and through the changes of taste and curators. We have a very early Hockney painting of a young married couple purchased from his first exhibition I believe. We also have lots of 'kitchen sink' era paintings too. So it was like a provincial British Modernist gallery in a way. Don't think they could afford the big name 'Americans' at the time. And the old 'mother country' allegiances die hard I suppose. Most of the ambitious Australian painters all nicked off to London during the post-war and swinging sixties era. Sutherland was a big influence on several key Australian painters out here. Russell Drysdale being the main one. I like Bromberg myself, but he might have been a bit earlier than the others I think. Franz Marc was the best Modernist horse painter. Enjoyed reading about Joash Woodrow too. Sad story. Glad his work is being appreciated. Fancy breaking ties with your friends over 'intellectual differences' I bet they were all a bunch of patronising tossers.

Well these are obviously the first (and important) things you think about when you read his quote - in understanding that he probably wasn't one of the Baronesses inner circle. I find the second part of his quote, where he talks about Nica, "that she … had the wherewithal to be where she wanted to be and do what she wanted to do", more worthy of following up - but it doesn't seem to be elaborated on. I guess his larger point may have been there is a certain gaucheness to her behaviours in the context of where she inserted herself socially. That story from earlier, about her parking the Bentley on the curb, and the insinuation that she took ownership for the marketing and presentation of artists music, is perhaps more illuminating, depending on how you look at things.

By my understanding, neither forum rule 7 or 9 excludes song lyrics, as I explained above. And the reason we don't allow whole articles, etc. posted but only links to them is simple. That which is linked to has been put up on the Internet by those who have put it there in the hope that it will be linked to. If they didn't want it to happen, there would be no link to link to. The objection here to posting the entire article or whatever is that doing so denies the party who placed the article or whatever on the Internet in the hope that others will link to it that which the party wants in return -- an increased number of page views. All of Jim's forum rules are based in common sense, I believe. Just read them and follow them. If there are arcane or special cases, just ask -- Jim or one or more of the moderators will consult their Quiji boards. We forget Ronnie Scott's greatest witticism: "Who shot the couch?" And don't forget this important advice Of Harry Gold (and his Pieces of Eight) he said, "Harry was very helpful. The best tip he gave me was not to wear brown shoes with a blue suit." Alternately, it should be said, never wear blue shoes with a brown suit.

You'll dig it.

I'm just so glad I found out the reason why the seagulls fly upside down in the seaside resort I reluctantly call my home town. It's because there's nothing worth shitting on Kinda like my old government High School - in the same town. The school's Latin motto translates to 'find out for yourself', (that's one of mine ).

I believe he possibly did. There is the jazz baroness website: My link It has links to what I assume are longer interviews with people featured in the documentary. Alas, either my browser will not open them, or the streaming video is down. It is interesting though, that Hannah Rothschild did not include the 'dilettante' quote in the doco, but has included it in the book. In the documentary, Baraka talks of visiting Monk at The Cathouse, so his opinion is not made at a distance as it were. I find it important to this story, because it clashes quite markedly with the very righteous things Rollins, Shepp and Curtis Fuller say. As well as those of Thelonious's son. Still, it suggests that the Baroness's presence was not universally appreciated by the Black jazz community perhaps. Is this possibly why Sonny Rollins has chosen to speak out with such obvious respect when he states otherwise that he normally refrains from public comment with regard to others. I am not familiar enough with Baraka's writings to know if he has written about the Nica/Jazz connection before. Yeah. Got its own funding