JSngry Posted August 7, 2006 Report Share Posted August 7, 2006 Nope, it wasn't that one. It was a straight-ahead side from the late 70s/mid 80s. This is not the first mystery of this type I've encountered. I'm still searching in vain for the smoking James Moody performance of "That's All" that I heard on the radio in the late 70s. That's not listed in any discographies either, but I know I heard it! Quote Link to comment Share on other sites More sharing options...
Guest akanalog Posted August 7, 2006 Report Share Posted August 7, 2006 i enjoy accent of the blues much more than memphis to ny. does anyone else agree on this? the songs are much better, i think. both the originals and the covers. do the drums sound as weirdly flanged on the LP, though? the CD, the drums are all screwey. Quote Link to comment Share on other sites More sharing options...
Soul Stream Posted August 7, 2006 Report Share Posted August 7, 2006 i enjoy accent of the blues much more than memphis to ny. does anyone else agree on this? the songs are much better, i think. both the originals and the covers. do the drums sound as weirdly flanged on the LP, though? the CD, the drums are all screwey. I think all these session have their supporters for different reasons. I've found myself actually listening to Memphis To NY Spirit more over the years than Accent. Personally, I feel Memphis is Patton's concept more fully realized than any other album he did during his BN period. If you listen to his later LPs like Soul Connection and This One's For J.A., you'll find it's all a continuem. Also, I like the recording of Memphis very, very much. Stuff like Memphis and Steno really connect with me on a pretty deep level. Rudy Van Gelder really outdid himself on this session. Plus, Cabell and Coleman are killing. My favorite stuff though is from the session that's split between bonus tracks on the CD of Accent and Memphis to NY....the tracks without guitar (Cissy Strut, Dragon Slayer, ect.). THAT session is definately one of the greatest in organ history imho. Quote Link to comment Share on other sites More sharing options...
The Magnificent Goldberg Posted August 7, 2006 Report Share Posted August 7, 2006 My favorite stuff though is from the session that's split between bonus tracks on the CD of Accent and Memphis to NY....the tracks without guitar (Cissy Strut, Dragon Slayer, ect.). THAT session is definately one of the greatest in organ history imho. Yes indeed! (Well, there's "Soul discovery"...) MG Quote Link to comment Share on other sites More sharing options...
Niko Posted April 7, 2008 Report Share Posted April 7, 2008 I like Marvin Cabell's sound. It's not the usual sort of tenor sound I like - nothing like Illinois, Jug or Gator Tail. It's what I think of - probably inaccurately - as a Chicago sound. A somewhat thin, very penetrating sound. Sonny Cox (admittedly an altoist) had this kind of sound (but a bit more strangled), and listening to Marvin also brings thoughts of Von Freeman and Rahsaan to mind. George Freeman has this kind of sound, too. The guy made hardly any recordings and there's very little said about him in the sleeve notes to those he did make; sleeve notes were "out" in the late '60s/early '70s. And by the time "Memphis to New York spirit" came out in '96, probably no one knew anything about him. As far as I know, he only made five recordings: John Patton's "Accent" (Aug '69) and "Memphis" (Oct '70)(plus the June '69 session split between those CDs); Lonnie Smith's "Mama Wailer" (Jul '71); and Johnny Lytle's "People and love" ( Aug '72). Plus, he wrote "Captain Nasty" - a fabulously fun burner - and "Village Lee" - one of the greeeeaazziiieesttt. MG not in my price range, not my medium and all, but just for the record (and in case anyone is interested) there is a used copy of a Marvin Cabell Solo Album called "Dream Images" on dustygroove LP (Item 77317) ILM, Early 80s -- Condition: Very Good+ Warm and laidback soul jazz from saxophonist Marvin Cabell -- a great little self-produced session that has plenty of sweet indie touches! The group features Cabell on sax and flute, plus keyboards by Harold Williams and Charles Covington, drums by Hugh Walker (from old John Patton and Harold Mabern sessions!), bass by Ricky Knox, and guitar by O'Donel Levy. Tracks aren't funky, or spiritual, but have a freedom of expression that's really nice -- never too smooth on the keyboards, and going for a homegrown soulful approach that we really like. Includes the moogy cut "Whipped Cream", which has some really great synth work under the jazz -- plus the cuts "The Fat Duke", "Freeway", and "Dream Images" -- as well as versions of Roland Kirk's "Bright Moments" and Chick Corea's "Spain". (Cover has some writing in pen on back.) http://www.dustygroove.com/item.php?id=7b9...3Djohn%2Bpatton Quote Link to comment Share on other sites More sharing options...
JSngry Posted April 7, 2008 Report Share Posted April 7, 2008 Thanks, Niko! :tup :tup Quote Link to comment Share on other sites More sharing options...
The Magnificent Goldberg Posted April 8, 2008 Report Share Posted April 8, 2008 Thanks, Niko! :tup :tup Looks like you grabbed it, Jim. Well done. Let us know what it's like idc, won't you? MG Quote Link to comment Share on other sites More sharing options...
Niko Posted April 8, 2008 Report Share Posted April 8, 2008 (edited) Thanks, Niko! :tup :tup Looks like you grabbed it, Jim. Well done. Let us know what it's like idc, won't you? MG can't play it at work, so no idea whether it's longer than 10 seconds, but this shop here has a sound sample http://www.jetsetrecords.net/en/product/162517228001 Edited April 8, 2008 by Niko Quote Link to comment Share on other sites More sharing options...
Shawn Posted April 8, 2008 Report Share Posted April 8, 2008 When you combine those bonus tracks from Memphis & Accent onto a single disc, prepare to normalize them. I combined those once and those 2 CDs were mastered at very different levels. Quote Link to comment Share on other sites More sharing options...
AndrewHill Posted April 8, 2008 Report Share Posted April 8, 2008 Concerning AOTB's, this was a cd I picked up as a second thought in a used shop a few years ago. At first, I thought that it was not all that well-rehearsed and I wasn't digging Cabell (or Coleman for that matter) a whole lot especially on Rakin' and Scrapin'. It took some warming up to, but after several concentrated listens I now rank it as one of my favorite 'second phase' Patton Blue Note's. I really love those three tracks starting with Captain Nasty and ending with ite Hit and its here that my respect for Cabell's writing shot up. My appreciation for his playing came soon after that. Quote Link to comment Share on other sites More sharing options...
The Magnificent Goldberg Posted April 8, 2008 Report Share Posted April 8, 2008 When you combine those bonus tracks from Memphis & Accent onto a single disc, prepare to normalize them. I combined those once and those 2 CDs were mastered at very different levels. Damn! Thats something I've been meaning to do for ages. What does "normalise" mean in this context? I only know it in the context of relational database design. MG Quote Link to comment Share on other sites More sharing options...
JSngry Posted April 18, 2008 Report Share Posted April 18, 2008 (edited) Thanks, Niko! :tup :tup Looks like you grabbed it, Jim. Well done. Let us know what it's like idc, won't you? MG Pretty groovy, that's what it's like! Quite "typical" of it's time, electronic keyboards (and some baaaaaaad men playing them), no straight-4 swing (one thing in 5/4 though), some originals that fall right in line with his writing on AOTB, only with "contemporary" touches (quiet as it's kept, a lot of the "crossover" material of this time was pretty much like this - set the groove back 10 years or so, keep everything else the same, and nobody would know any difference...), covers of "Spain" & "Bright Moments", O'Donnell Levy, Hugh Walker (on one side), nothing at all out of place in a "popular inner city jazz club" of the late-70s, and best of all Marvin Cabell still sounds exactly like Marvin Cabell. A little more sure-fingered, but that tone & that timing & that inflectional quirkiness are still 1000% intact. Probably not worth what I paid for it (the BASTARDS got my #...), but then again, I've always really dug Marvin Cabell, just because, so for me, it was, barely. But it's a great $10-$15 record for anybody else, except for those who won't dig all the "contemporary" touches and/or Marvin Cabell in general. Edited April 18, 2008 by JSngry Quote Link to comment Share on other sites More sharing options...
WorldB3 Posted April 18, 2008 Report Share Posted April 18, 2008 My favorite stuff though is from the session that's split between bonus tracks on the CD of Accent and Memphis to NY....the tracks without guitar (Cissy Strut, Dragon Slayer, ect.). THAT session is definately one of the greatest in organ history imho. Yes indeed! MG Third, that version of Cissy Strut is killer. Quote Link to comment Share on other sites More sharing options...
Soul Stream Posted April 19, 2008 Report Share Posted April 19, 2008 Thanks for the review Jim! Cabell is great...I'm in full alignment ... Quote Link to comment Share on other sites More sharing options...
Shawn Posted April 19, 2008 Report Share Posted April 19, 2008 What does "normalise" mean in this context?... It's digital signal processing that searches an audio file, finds the highest peak and then raises it to "0". By using the peak value search it doesn't effect the dynamics of the original track, it just makes the track as loud as possible without clipping. Most recordings these days are mastered using digital limiting which compresses everything and removes the dynamic range. Quote Link to comment Share on other sites More sharing options...
The Magnificent Goldberg Posted April 19, 2008 Report Share Posted April 19, 2008 What does "normalise" mean in this context?... It's digital signal processing that searches an audio file, finds the highest peak and then raises it to "0". By using the peak value search it doesn't effect the dynamics of the original track, it just makes the track as loud as possible without clipping. Most recordings these days are mastered using digital limiting which compresses everything and removes the dynamic range. Thanks Shawn. I can't do that on my machine, but I can set the record level to take account of how loud different things are. Sounds like the same thing, only a manual job (mops sweating brow). MG Quote Link to comment Share on other sites More sharing options...
Soul Stream Posted October 1, 2008 Report Share Posted October 1, 2008 I TALKED WITH MARVIN CABELL TODAY!!!! Man, just got off the phone with Mr. Lite Hit himself!!! A super nice and humble man to be sure. Going to be talking again with him in the next few days for an interview I'm going to post on Patton's MySpace site. If there's any questions you'd like to ask him, let me know and I'll try and remember....! Quote Link to comment Share on other sites More sharing options...
chewy-chew-chew-bean-benitez Posted October 1, 2008 Author Report Share Posted October 1, 2008 so BJP only recorded other peoples songs on that lp beacuse he was pissed at Lion and didnt want to give him publishing credits? or is that how the story goes? Quote Link to comment Share on other sites More sharing options...
Soul Stream Posted October 1, 2008 Report Share Posted October 1, 2008 so BJP only recorded other peoples songs on that lp beacuse he was pissed at Lion and didnt want to give him publishing credits? or is that how the story goes? That's the story.... Not sure how close to the truth it is...maybe it's the whole truth. That was the story Javier gave in the Patton biography. I'll ask Marvin how it came to be he wrote so many tunes on that and the follow up sessions. My guess is that Patton just dug the way he wrote. Much like his collaboration with Grachan Moncur III. John always was a big fan of the way certain people wrote. Quote Link to comment Share on other sites More sharing options...
bertrand Posted October 2, 2008 Report Share Posted October 2, 2008 Is there a way to get a copy of Javier's thesis without going to Rutgers and spending 3 hours xeroxing it? It's not like there will ever be another book on BJP. Bertrand. Quote Link to comment Share on other sites More sharing options...
Soul Stream Posted October 2, 2008 Report Share Posted October 2, 2008 Is there a way to get a copy of Javier's thesis without going to Rutgers and spending 3 hours xeroxing it? It's not like there will ever be another book on BJP. Bertrand. I've posted the full thesis in the blog section of my John Patton myspace site... www.myspace.com/bigjohnpatton Quote Link to comment Share on other sites More sharing options...
andybleaden Posted October 2, 2008 Report Share Posted October 2, 2008 Is there a way to get a copy of Javier's thesis without going to Rutgers and spending 3 hours xeroxing it? It's not like there will ever be another book on BJP. Bertrand. You want me to send you over a copy (on word?) Quote Link to comment Share on other sites More sharing options...
Rooster_Ties Posted October 2, 2008 Report Share Posted October 2, 2008 Is there a way to get a copy of Javier's thesis without going to Rutgers and spending 3 hours xeroxing it? It's not like there will ever be another book on BJP. Bertrand. You want me to send you over a copy (on word?) I'll take one, if you please. Tried to cut-n-paste the thing into Word last night, and had a devil of a time with the formatting. My e-mail is... buck_crim {at} msn {dot} c o m Thanks!!! Quote Link to comment Share on other sites More sharing options...
andybleaden Posted October 2, 2008 Report Share Posted October 2, 2008 let me know if you do not get it Quote Link to comment Share on other sites More sharing options...
Parkertown Posted October 2, 2008 Report Share Posted October 2, 2008 Much like his collaboration with Grachan Moncur III. What session/album is this? Quote Link to comment Share on other sites More sharing options...
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