jodigrind

Does anyone know the personnel on Odell Brown’s 1974 self titled album on Paula Records. Man it is nice.

DRose has now missed over 25 games this year for FIVE separate injuries. What are the chances now that he will be able to play at full strength for the playoffs? As much as I love this Bulls team and the way they play, I will be surprised if they can pull it all together to get past the Heat or Celtics. Hope I'm wrong.

Sounds great--I'm off to see him downtown tonight!

Spencer's interaction with Melvin Sparks on the title track of LD's The Scorpion is unbelievable.

The Keel is surprisingly good--a keeper.

John Klemmer--Free Soul from "Blowin' Gold". Opinions may vary on Klemmer, but the dude could flat-out play, and did not hold back on this one.

1. Sonny Stitt--Just the Way it Was, Live in Baltimore 2. Lou Donaldson--The Scorpion 3. Rusty Bryant--Night Train Now! 4. Charles Earland--Black Talk! 5. Jimmy McGriff--Electric Funk 6. Stanley Turrentine--Sugar 7. Johnny Hammond (Smith)--Breakout 8. Grover Washington Jr.--Inner City Blues 9. Lou Donaldson--Alligator Boogaloo 10. Lonnie Smith--Drives Bonus--Grant Green's live albums

Dr. Lonnie Smith, Eric Alexander, Peter Bernstein, and drummer Anthony Pinciotti at Smoke. $0 cover.

http://www.chicagotribune.com/news/local/c...user=CTUSERNAME

It's the first track from Volume One of The Three Sounds Live at the it Club--"Funky Pullett"

I hereby nominate Lou Donaldson's 1976 album "A Different Scene". The first track on that album (a disco-inferno take on "You are my Sunshine" complete with a modulation at the end) clinches it. All love to Lou, but this album and its follow-up "Color as a Way of Life" were comically bad.

Good call--great album all around--R. Brecker makes some nice contributions as well. I also really dig the version of Loran's Dance on Grover's Reed Seed, released a bit later. Makes for an interesting comparison.

Nice call Felser. A great album capping off a great run by Burton on Enja. I listen to these a lot. I will comment more later.

The whole thing is really messed up--I was in the subway station on 14th and 6th around 9:00 A.M. this morning (where the smell was probably at its strongest). Smelled like a bad gas leak combined with sulpher --not fun. I felt a little lightheaded throughout the morning, but am better now. I'd really like to know the true cause of this--the smell was pervasive all the way into midtown.

I have both discs--wonderfully executed arrangements from a real working group. These guys have held down the regular Tuesday night gig at Smoke for a number of years. They put a nice spin on some non-traditional standards, often re-working more modern pop classics (like Earland used to do) to nice effect. I have been to Smoke to hear these guys many times, and this is a good representation of a regular night's work. A nice vibe. The other disc from this group is the "Anniversary Quartet" recorded live at the Cellar Door in Vancouver. I don't think this is available anymore (it might not have been released with all of the musicians' permission, from what I recall), but to the extent it can be tracked down, I think it is their best recording.

I just purchased Kenny Garrett's Prisoner of Love from EBay based on my growing interest in the development of his sound post-Miles. The seller includes a "review" of the item that reads as follows: "Altoist Kenny Garrett's second recording as a leader (following an earlier effort for Criss Cross) is a surprising success, especially compared to his later (and near-classic) recordings. The first three selections find Garrett sticking to the melody over automatic pilot rhythms in asuccessful attempt to obtain a cross between Grover Washington Jr. and Stanley Turrentine. "Blue Moon" in particular is a masterpiece with the perfect arrangement altering the chord structure for the best, and the remainder of this album is much better. The most notable aspect to Prisoner Of Love is that Miles Davis (who was Garrett's employer at the time) makes two rare appearances as a sideman, and his ensemble work on the nursery rhyme melody of "Big Ol' Head" and "Free Mandela" is as unforgettable as virtually this entire recording." Ebay Link Something didn't seem right to me about this. Sure enough, I checked out the AMG review, which reads just a bit differently: "Altoist Kenny Garrett's second recording as a leader (following an earlier effort for Criss Cross) is a surprising dud, especially compared to his later (and near-classic) recordings. The first three selections find Garrett sticking to the melody over automatic pilot rhythms in an unsuccessful attempt to obtain a cross between Grover Washington Jr. and Stanley Turrentine. "Blue Moon" in particular is a turkey with the embarrassing arrangement altering the chord structure for the worse, and the remainder of this album is not much better. The most notable aspect to Prisoner Of Love is that Miles Davis (who was Garrett's employer at the time) makes two rare appearances as a sideman, but his muted ensemble work on the nursery rhyme melody of "Big Ol' Head" and "Free Mandela" is as forgettable as virtually this entire misfire." All Music Review I go back and forth between finding this incredibly funny and quite slimy. In the end, I'm just surprised he made the effort to tinker with the review.

I happen to love these albums; the grooves are relentless. As I recall, the number of guitars don't take anything away and the different colors when they solo mean things don't get overly monotonous. George Freeman is on the studio side and he ALWAYS takes things in a different direction. The live side gets a bit rowdier which is for the good. I also think the two organs play well off each other--McGriff is still in his "hot" phase before he lounged it up in his '80's recordings for Milestone. I don't think you can go wrong with these at all--especially for the price.

Saw BJP for in 1999 at the Elbow Room on the North Side of Chicago in a group that included Ken Vandermark on reeds and George Freeman on guitar. No one compromised their style at all, which made for a wild and fun set. The small venue was packed to the gills with much love given to Big John. His output for Blue Note is a treasure.

Finally got my shipping confirmation for my order placed 7/12, with all CD's included.

I ordered 33 CD's plus the Coltrane Box last Wednesday, and have heard nothing since. Order #5584. I feel like the 12th man who hasn't been called in to play yet.

I have this (reissued on CD through Great Britain) and enjoy it--the title track smokes along the lines of Fire Eater, Wildfire, and Cootie Boogaloo (from Night Train Now!) only this one has electric piano instead of organ. I enjoy the electric piano and think that it fits in well with the band. The rest of the album is what you'd expect from Prestige at that time: a slow blues, a fast take on Mercy, Mercy Mercy, and a cover of "Have You Seen Her" taken as a ballad with Bryant on alto. Rusty is the man--love his playing; a revelation is the recent Lonehill reissue of his Dot jazz recordings where he plays straight ahead tenor. He sounds nothing like he does on his later Prestige recordings, and navigates standards beautifully.

The real winner is "California Concert" recorded 7/18/71 at the Hollywod Palladium. This one includes versions of Red Clay and Sugar that match the energy of the live versions tacked on to the latest reissues mentioned above. Stanley T was on fire that night! The CD reissue has been out of print for quite some time. Another great live track is "It's Too Late" added to Johnny Hammond Smith's Breakout.

Frank Haynes

My pregnant wife woke me up and asked me to make her some waffles with syrup at 2:00 AM on Thursday night. I thought it was a craving, but I suppose she had a reason to feel that way.

I really like both these dates. Takin' Care of Business features Winchester, but with a different color in the form of Organnist Johnny "Hammond" Smith. It features his Trane Whistle composition which appeared that same year on the Lockjaw Davis big band album arranged by Nelson. It also includes a stunning version of "All the Way" where you really get to hear Nelson's composer's ear put to work in his own cadenza and solo. I come back to this one often. Main Stem is fun--it features Joe Newman. Newman and Nelson recorded a live album during this general time period that just got released on Verve under Newman's name--"Live at Count Basie's". I think they sound great together. As far as Nelson's soloing, a lot of people will criticize that Nelson often sounded like he sculpted his solos in advance, and thus lacked a certain element of sponteneity (not a problem with me), but I think this album features Nelson soloing more "off the cuff" than on any of his other Prestige recordings. Plus, you've got Hank Jones on piano--so the album has that going for it too.