Joe

Jack Sheldon, wasn't it? SCHOOLHOUSE ROCK is another good example. Sheldon, Bob Dorough, Grady Tate. Plus, if you flash on over to the recent Eric Kloss threads, Kloss used to appear semi-regularly on MR. ROGER'S NEIGHBORHOOD...

Great and important label. I believe it was started or at least trun for a long time by bassist Harry Miller. And the box set of Miller recordings currently available fomr this label is a must-have, IMO. Solos, duets, and some hard-hitting but joyous small-band playing, featuring Mike Osborne, Sean Bergin, Marc Charig, Willem Breuker, Trevor Watts, Keith Tippett, and others. But I still love this record perhaps most of all -- For more info, see: http://www.shef.ac.uk/misc/rec/ps/efi/elabels.html#ogun

Some of you may recall some discussion on the old BNBB, begun by JSngry, regarding RUSTY IN ORCHESTRAVILLE... http://www.wecollect2.com/Rusty%20In%20Orchestraville.htm which, despite appearing to be terminally cute, features musicla arrangements by Billy May. Really unusual and intriguing arrangements by Billy May. It was a record I myself listened to many a time as I child, all the while not suspecting that, years later, it would throw some light on Frank Sinatra's musical universe. Similarly, this past weekend, I was browsing the used CD bins and came across an RCA / Camden Special Products CD reissues of Dr. Seuss' FOX IN SOCKS / GREEN EGS AND HAM, as read by actor Marvin Miller. Again, records I had bled white as a kid. But, looking at the credit, I was surprised to see that, for GREEN EGS AND HAM, one Shelly Manne was credited with "musical direction". And that gives me a whole new appreciation for this. (Yep, the reading of GREEN EGGS AND HAM is a lot stranger than I remembered...) All of which makes me wonder about other artists who made interesting / valuable music that is easy to overlook becuase it was originally intended for a certain audience, was giving candy-coated packaging, and was not meant to be serious or lasting, but diverting / to give idel hands (and hears) something to occupt them. I'll leave you with this: http://www.kiddierecords.com/ It's not just about nostalgia, IMO.

FWIW, contemporary "free" or "non-idiomatic" improviser John Russell plays a 1936 steel-bodied Zenith, partially in homage both to Oscar Aleman and to Django Reinhardt. His work is worth checking out. the vocabulary he employs owes a lot to Derke Bailey, but he also uses rock / McLaughlin-style dynamics. Or I would say so based on his playing on THREE PLANETS. http://www.shef.ac.uk/misc/rec/ps/efi/musician/mrussell.html

The steel-bodied or metal resonator guitar also provided amplification without electrification, IIRC. Seems as if the guitar has always had to struggle a bit to be heard. http://www.provide.net/~cfh/national.html

Wait, I think I've misunderstood the point of this thread, sorry... Rhoda Scott at the organ...

I'll contribute.

Woke up to this on the radio. Was sure I was still dreaming! Fascinating stuff.

As someone who grew up with a father who was "physically handicapped" (a paraplegic; polio survivor), something about the laurels bestowed on MILLION DOLLAR BABY and THE SEA INSIDE just rankles. Rankles bad, in fact.

Pretty interesting interview with Ladd in the February WIRE (the one with Anthony Braxton on the cover -- another fascinating conversation, BTW).

There have been a few occasions when I did not really enjoy Jack Sheldon's playing. The Art Pepper date in question ain't one of them. Besides, anyone who can hang with Joe Maini -- musically as well as "socially" -- earns my respect.

Add John Gilmore as an insider / outsider. Also Arthur Blythe. As for an example of someone who is exclusively "outside"... that's kind of tricky, but I'm tempted to say Charles Gayle. Or maybe Joe Maneri, who I'm sure could play "inside" but elects not to.

Frank Lowe I'm not tooting my own horn, or at least trying not to, I just feel like I've already said HERE why the man's music is important to me. Though I will add that Lowe's death caused me think about his relationship to tradition all over again

Will see if I can track down the Santoro article in question. Re-printed in DANCING IN YOUR HEAD, maybe? More than likely. Santoro was cotributing regualr to the VOICE and the ATLANTIC MONTHLY then, was he not?

Re: Tyner... I must have been mis-remembering. From the Fantasy web-site: Will see if I can track down the Santoro article in question.

Thanks for the info. I was guessing these were "sampler"-type issues, but the label of origin was throwing me. There are indeed four Cleveland tracks on this Fresh Sound release. And, yes, you can now find Fresh Sound (and its associated labels) on the web: http://www.freshsoundrecords.com/

Charles McPherson's Mainstream sides, particularly his "Billie Holiday songbook" album SIKU YA BIBI, are worthy of reissue IMO. I'm also a fan of Johnny Coles' KATUMBO.

Afraid I don't have any info for you, but I do have a question. What's the story behind the Cleveland / Hank Jones / Barry Galbraith / Milt Hinton / Osie Johnson tracks recetnly reissued on this Fresh Sound release? Thanks in advance.

"Oh, Dennis!"

Zell Miller?

Absolutely. "Smoke Gets In Your Eyes"...

One day its "Pannonica", the next its "Skippy", and, on yet another day, it might be "Let's Cool One". I do have a real soft spot for "Bye-Ya", though.

Has not formed a solid opinion yet on Ravi, but, based on his playing on his own FROM THE ROUND BOX -- on which, BTW, I think trumpetere Ralp Alessi sounds pretty darn good -- I hear more of a Wayne Shorter influence than anything else. Of course, said album is almost 5 years old by now. And, while I can't recommend this record whole-heartedly, it is nonetheless an interesting effort... Hank Mobley tunes, two tenor set-up: Ravi and Craig Handy. Plus Cindy Blackman.

I may be mis-remembering this, but I seem to recall McCoy Tyner citing Dennis -- who've I've also seen referred to as "the fat genius" of Philly piano players -- as an early influence or at least inspiration.