Dan Gould

Well I'm glad I saw this as the presence of Jeff Hamilton and Red Holloway almost made me interested in this, but someone mentioned an AAJ review that compared the "singer" to Little Jimmy Scott and that was a major turnoff for me; knowing its Pesci .... I'll happily pass.,

I think that Dan meant to post the date for the Scott/Hope material as 1960. Hope's original version of "Tenderly" was released in 1950 on the Premium label and was a top 10 r&b hit. OOOPS! That'll teach me to check what I post after I click "add reply"! Yes, the Juicy CD lists 1960 as the year of recording.

Refresh my memory-didn't Tom say that there was a clip of Hank coming on stage in some outrageous canary yellow suit or something?

I checked the CD and Couw is partially right. It looks like the Scott/Hope material was recorded in 1950.

Cute double entendre, but in both sex and sax, it depends on who is working it.

"prematurely"? A lot of us are prematurely nostalgic, and we are neither mature nor did we live through the age in question!

I don't understand the complaints about Cadence, even though I have never actually subscribed. Its a great source to learn about small label recordings, and while I agree that it is difficult to scan through label listings rather than artist listings, I have no doubt that it has led me to explore labels I might otherwise not know or recordings on labels I do like that are led by artists I don't know. You know? What I'm saying is, the effort it takes to scan those listings can be easily repaid in expanding your horizons! Plus, Cadence has good prices on imports like Criss Cross, and everytime I order and they add on the $3 charge for non-subscribers, I remind myself that I need to bite the bullet and subscribe!

MWGA, I picked this one up a while back, and I am almost certain it is a comp. and not a more recent recording. Are you looking for the actual disc or do you just want that tune? Here's a link to a GEMM dealer who has it in stock: http://www.gemm.com/ddc/search.pl?sid=3603...no=GML547889748

Frank Morgan is still gigging.

Looks good but you might put up the news about Clearwater. Can't hurt to get the word out early!

Funny, that's the time that I want to tell "our waiter this evening, Brad" to shut the fuck up and go place the order.

Rooster, its definitely more in a hard bop vein than Something Personal is (which maybe you suspected from the lineup, but this is definitely the hard bop side Jackie Mac). Definitely a nice one, but definitely different.

TOFU? Yuch! I take back everything I said! And so does Ed Grimley!

I'm pretty sure it was issued as a TOCJ jewel box version. Though I'm sure Hans or someone will step in with the exact info. B)

12 Hour Malaria?

I stand corrected. Sure which he had covered the other tunes as well, though! (I am of course prepared to place my other foot in my mouth

Brad, there was a big to-do when this was noticed a week or two ago (I think you were on vacation). Basically, Jim Sangrey was ready to go Medieval on their collective asses before somewhat cooler heads prevailed.

It seems like AOW is a "hot potatoe" thing. Mike, didn't you used to write speeches for this man?

Yes, we must start a Draft Dmitry movement, otherwise he's going to sleep his life away.

How do I rate Phil? As this man used to say, "He seems like a decent sort of guy, I must say."

Glad to hear it! And no, its not *that* lame ... I remember when I met my wife, the song that stayed in mind was a country tune by Trisha Yearwood, "Thinking About You". Now that was lame!

Mike, The one Mike LeDonne organ date I knew of before is an unlikely one: He's on Scott Hamilton's Organic Duke, a set of Ellington tunes-not what you'd expect! Also not as greasy as I'd have wanted, so I'd like to hear LeDonne in a more traditional organ context. As far as other organ dates on CDBaby, I've had my eye on Jackie Ivory. I was really surprised to see his name, as I had no idea he was still around. But he made an album for ATCO back in the 60s that I traded for-not Earth shattering, but still pretty nice. It looks like he's doing a more soul/R&B thing (and in fact the listing actually mentions the dreaded phrase "smooth jazz"!) but the clips don't sound too bad.

For what it's worth, Free For All, I was asking about composition and not necessarily performance. Believe it or not, I still haven't voted yet. Need to revisit one more time before I decide. This is one of those favorites that eventually slipped into the stacks and stayed there for too long! (Sorry, Peter!)

Nice story, Peter, I have a similar one, even from almost the same time period. I had just started getting into jazz the previous winter, and now it was spring and I was home from Graduate School. I had used the first two LPs I received (Columbia Jazz Masterpiece Sampler Volume 1 and 2) to head off into different directions-Miles and Trane, Brubeck, Basie. I went music shopping with my younger brother, who had started playing trombone in the jazz band in high school, and I saw this album. Like everyone, I liked the cover, so I showed it to my brother and he said I should get it (though he really knew nothing whatosever about it). So I get it home, put it on, am completely blown away, and I start looking at the back cover, wanting to know more about these people. The only date I could find was 1984, and I remember thinking, "that was 5 years ago-these guys must have another album out by now." I was such a newbie, I had no idea Trane had died over 20 years earlier!

Its hard for me to relate to much of Rooster's rants, for a couple of reasons. #1, the "scene" in South Florida is limited, in my experience, to several jazz preservation societies who bring in national talents, plus a small number of superb artists who make south Florida their home, ranging from Eddie Higgins to Phil Flanigin to Melton Mustafa and his very talented brother Jesse Jones, plus some older players who are quite talented but for the most part make their money teaching. They gig locally or in the case of Higgins, get called in to support the touring acts like Red Holloway and others. #2, personally, I am not at all disturbed to hear standards that were standards by 1960. Not in the slightest. If I see an unknown, for instance, there is a monthly "Riverwalk Sunfest Jazz" thing that takes place on the first Sunday of every month, I am perfectly happy to hear serviceable bebop. Similarly, when I lived in Tallahassee, there was a Farmer's Market downtown every Saturday, and there would be a two hour quartet or quintet jam session, usually by FSU or Florida A&M jazz students. They didn't rip it up, but they didn't fuck it up either. Just a nice chance to sit out in the park on a blanket and hear some young musicians. Overall, I can't relate to Rooster's rant because I have not sought out the club scene very much so I do not know enough about the playing of the youngest, unestablished jazz musicians here. But there's definitely a strong core of very talented local musicians, some extremely well known, some totally unknown, who are very good at what they do. Specifically, I can think of the different local bass and drum players who have been called on to sit in with people like Eric Alexander and Norman Simmons, or with Red Holloway and Eddie Higgins-excellent rhythm sectionmates, who maybe did not stand out greatly but nevertheless performed their role admirably.