paul secor

Clifford Brown/Max Roach Quintet: Pure Genius Volume 1

Sadly, it's actually a studio record. But yeah, excellent stuff. I'll throw it on later today... that and the ICP variant of that tour, with "Eeko" on side two. When I heard Eeko it almost made me want to get a parrot. Almost.

It's not the first time that somebody reports the booklet is missing from that vinyl! My copy has the booklet but I don't have a scanner Same here.

Jim, I hear what your saying/writing, and I know where you're coming from because I've read what you've posted over the years. The problem is, I don't know where Cuscuna was coming from when he wrote that. And I just see what he wrote as a smear tactic - not much different from what Ira Gitler did a lot of during the 1960's - not much different from the anti-jazz attributed to Trane during the early 60's. There is a difference though. Gitler hated what he heard and named names, and the people who accused Coltrane of playing anti jazz and hate or anger - this is early 60's Trane, mind you - at least said that they were writing about John Coltrane (and Eric Dolphy). If you don't talk about individual musicians, to my mind you're engaging in smear tactics. As far as "anger and a lack of musicianship", that's a quote from Cuscuna. He put the two of them together. There were some "dark days" immediately following Trane's death, especially as far as the recording of the new music went, but all of the musicians I mentioned in my previous post were still playing during that time, and not just "venting" and screaming. The AACM, BAG, and loft musicians brought new aspects to the music, and that was a welcome thing - tho Cuscuna does neglect to mention that Sam Rivers was around for a long time before the loft scene - but there were cats on the NY scene who were doing more than just ""venting". I heard a number of them play live during that time but there are recordings too. You know the records, but in case others don't: Any of Ornette's records from the mid 60's on Ayler's Lorrach/Paris recording and his Greenwich Village Concerts Roswell Rudd's Everywhere - Giuseppi Logan's finest moment, by the way Don Cherry's Complete Communion, Symphony for Improvisors, Eternal Now, Human Music, Mu 1 & 2 Archie Shepp: Mama Too Tight, The magic of Ju-Ju, The Way Ahead, Yasmina, Blase Charles Tyler Enemble Noah Howard at Judson Hall Cecil Taylor: Unit Structures, Conquistador, Student Studies Jimmy Lyons: Other Afternoons Bill Dixon: Intents and Purposes Marion Brown: Three for Shepp, Porto Novo Jackie McLean: New and Old Gospel All 1966 on - some recorded just before Trane's passing, but some of the AACM stuff was recorded before Trane passed too. If the "jazz public" perceived things differently, that doesn't deny the fact that the music was there to be heard. I know - the tree falling in the forest. Hey - sometimes people have to take a walk in the forest. And if people wanted to hear compositions/arrangements rather than just blowing, they could have listened to Cecil - Into the Hot, Unit Structures, Conquistador; or Ayler: Greenwich Village Concerts; or Roswell Rudd: Everywhere; or Archie Shepp: NY Contemporary Five; Fire Music; Four For Trane; On This Night or Bill Dixon: Intents and Purposes or some of George Russell's recordings If the "jazz public" had listened, they might have heard the New York Art Quartet forshadow (at least to my ears they did) some of what the AACM and BAG brought to the music a few years later. The music was there - in stores - that's where I bought it. There was no internet or anything like it then. "Variety" was there before the coming of the loft players (tho they brought more of it). The "jazz public" didn't hear it for various reasons, and that's been a loss for all of us. The bottom line for me is that, whether intentionally or not, Cuscuna smeared a whole generation of musicians with his statements.

What exactly are "emotional excesses"? Emotions are feelings - it's as simple as that. There may be certain emotions that people don't want to deal with at a certain time (or that some people - perhaps Mr. Cuscuna falls into this category - don't want to deal with at any time), but as far as I know, there are no "emotional excesses". As to "screaming pretenders", would Ornette, Jimmy Lyons, Roswell Rudd, Ed Blackwell, Bill Dixon, Charles Tyler, Dave Burrell, or Charles Moffett fall into that category? Perhaps so, as Mr. Cuscuna names no "screaming pretenders". As to "anger and a lack of musicianship", would Mr. Cuscuna say that Cecil Taylor, Charlie Haden, Walt Dickerson, Henry Grimes, Denis Charles, Marion Brown, David Izenzon, Andrew Cyrille, Grachan Moncur III, Billy Higgins, Archie Shepp, Don Cherry, Alan Silva, and Beaver Harris couldn't play their instruments? Only Mr. Cuscuna knows, and he's not saying. Has Mr. Cuscuna heard only anger when he's listened to any of the musicians mentioned above? Who knows? It's easier for him not to mention any names. Jim S has called Mr. Cuscuna's statement "Sloppy writing indeed". That's a best case scenario. At worst, it's just a smear tactic. I hope that it's the former. I fear that it's the latter.

Not to get into a thing, clem - I agree with a lot of what you say. Have to say that I've never been much of a Beaches fan at all - I remember telling a friend back in their 60's heyday that they sounded like the aural equivalent of chrome and cotton candy. Still feel that way - their music just doesn't connect with me on an emotional level, and that's where it's got to start for me. That said, I can understand what other folks hear and love. I have a good friend whose intelligence and musical taste I respect who is a Brian/Beach Boys fan. He listens to them & I don't. But - Mike Love can sing? Well, he can carry a tune - something he shares with probably 3/4ths of the world's population. If he'd had to rely on his singing talents instead of Brian Wilson's songs/arrangements, he'd be a bald retired car salesman today. (Yeah, I know he's credited as co-writer on some songs. I take that with a container of salt.) Nick Gravenites: "I'll Change Your Flat Tire, Merle" - better satiric tribute to Hag.

It's an easy game to run your mouth (or in this case, your pen) if you don't name names. You can just let other people fill in the blanks you left open.

Mike Love - the asshole of the earth.

Maxwell Davis: Father of West Coast R & B

That Certain Feeling is my favorite John Patton recording. Love the way that Clifford Jarvis breaks up the time and still keeps the basic rhythmic feel going (check out "early A.M.") - not unusual for 60's jazz in general, but not the usual thing for BN organ dates - Larry Young excepted. Jarvis is an underrated musician. Not sure if it's because of Jarvis' playing, but both Patton and Jimmy Ponder stretch out a bit more than usual, at least to my ears. As you say, it is an "AMAZING session!"

Good Rockin' Charles (Double Trouble)- fine Chicago harp player

Great record! I have the CD on Alligator. I assume it's the same material. It is. Blue Side went under after issuing only a few records. I only remember the Charles Brown and a reissue of James Carr Goldwax sides - there may have been a couple of others. Alligator picked up the Charles Brown. Good move on their part - at least as far as the music goes. Don't know how many it's sold, but the music is great.

Thanks for posting that link, Larry. The 1959 Concert Program contained there clears up some of the personnel listings left off the Royal Jazz CD notes.

Wasn't this a DEEP thought? yes. while we're collecting mannerisms we need to mention Up&Down by Horace Parlan with Parlan getting stuck on a single note all the time, Grant Green getting stuck on another single note at least as often and Booker playing his two solos one after the other. Actually, Mr. Nessa deserves the credit for this one. See HERE. http://www.organissimo.org/forum/index.php...te=booker+ervin

Charles Brown: One More for the Road (Blue Side) - the best of Mr. Brown's later recordings

Skeeter Davis & NRBQ: She Sings, They Play

Not in the same studio. You can bet on that.

Maxwell Davis is the overlooked hero of West Coast Rhythm & Blues. He produced, arranged, or played on (sometimes did all three): Amos Milburn: Chicken Shack Boogie & Bad Bad Whiskey Percy Mayfield: Please Send Me Someone To Love Charles Brown: Black Night Lowell Fulson: Tramp Floyd Dixon: Telephone Blues Peppermint Harris: I Got Loaded Etta James: Roll with Me Henry The Cadets: Stranded in the Jungle Jesse Belvin: Goodnight My Love Marvin & Johnny: Cherry Pie Roy Hawkins: The Thrill Is Gone B.B. King: Every Day I Have the Blues, You Upset Me Baby, Sweet Little Angel, & Sweet Sixteen plus a long list of other recordings that weren't hits, but were fine records, nonetheless.

Passed - Didn't want to see/hear what Mick Jagger, Eric Clapton, Phil Collins, Kid Rock, Jimmy Page, Robert Plant, Bette Midler, and the rest of his latter day cronies had to say. Now that the cynic in me missed it - does any one here feel it was worth watching?

Good one!

Not jazz artists, but: Mississippi John Hurt appeared on the Tonight Show in 1963. And John Bubbles appeared on the Tonight Show a number of times during the 1960's.

Doubt that they'll get 350 for Sonny's Time Now. If they do, my copy's going up for sale on Amazon.

Just checked CD Universe & they include the pop singer Don Cherry's recordings with the instrumentalist Don Cherry's recordings. Interesting if some of either's fans bought the "wrong" guy's recordings.

Treat It Gentle is a wonderful book. Was there some question as to whether Sidney Bechet's words were altered to be more "poetic"? I thought I read somewhere that that was perhaps true. If it's not true, I'll delete this comment.

Did the guy on the right moonlight as Gabe Kaplan's double?