60's and 70's dates from The Bastards™ -- working list

[Rooster_Ties]

Got a huge list of titles on my "want list" at Dusty, many late 60's and 70's dates that just look currious -- most with names that barely mean anything to me at all. The madlib Dusty descriptions are easily half-useful for this kind of stuff, but some first hand recomendataions would be great too.

Here's a list. I've included major edits of the madlibs (trying to include just the code-words), and sometimes combining similar discs together (below) for easier discussion.

Franco Ambrosetti -- "Jazz Live Situation" -- Dire/Sound Hills (Japan), 1972

long, open tracks. Ambrosetti presented with a great sense of space and timing -- a bit more searching at times than before -- clearly inspired somewhat by the directions of Miles Davis, but his own voice too. electric and acoustic piano from Klaus Konig, bass from Peter Frei, and drums from Peter Schmidlin -- all matching Ambrosetti's energy.

Dorothy Ashby -- "Afro-Harping" Cadet/Verve, 1968 (and, as a separate CD) "Rubaiyat Of Dorothy Ashby" Cadet/Dusty Groove, 1970

First disc: a blend of African percussion, soulful orchestrations, and Ashby's electric harp. a bit of funk, a bit of jazz, and a heck of a lot of soul. a nice funky edge, and a groovy soulful bounce. a great version of Freddie Hubbard's "Little Sunflower". /// Second disc: a brilliant set of funky and spiritual tunes. (Electric?) Harp, but also koto as well, and she even sings a bit too -- larger group directed by Chicago soul arranger Richard Evans, with Stu Katz on vibes and kalimba, Lenny Druss on flutes, and Cash McCall on guitar -- all in a groove that's really a precursor to the Earth Wind & Fire generation of the Chicago scene!

Baroque Jazz Trio (Self Titled) -- Saravah/L'Arome (France)

Beautiful stuff, stunning. Mix of harpsichord, cello, and Indian percussion. inspiration from world music. heavy use of tabla, the set has a really driving rhythmic component -- funky numbers sought-after jazz-dance tracks for years. And the role of the harpsichord is surprisingly strong -- played in almost modal lines, but with a hesitating, lilting groove that's quite different to similar use of the piano at the time.

John Betsch Society -- Earth Blossom -- Strata East/Heavenly Sweetness (France), 1974

spiritual soul jazz -- rare Strata East date. drummer/percussionist John Betsch -- instrumentation includes guitar, piano, electric piano, and reeds -- warm touches, and a few sharp edges -- all very much in the best Strata East mode. soaring sort of sound -- similar to some of the Keno Duke material on the label, touched with some trippier edges too.

Dollar Brand -- African Space Program -- Enja (Germany), 1973

with hip group of American soul jazz players, like Charles Sullivan, Sonny Fortune, Carlos Ward, Roland Alexander, Cecil Bridgewater, and others. fuller feel than most of Brand's other work from the time. interesting to hear his jagged piano juxtaposed with the warm spiritualism of the players in the group.

Philip Cohran & The Artistic Heritage Ensemble -- Three separate titles: "Malcolm X Memorial" (1968), Self Titled a.k.a. On The Beach (late 60's), Singles (late 60's) -- all on the Zulu lable originally (various reissue labels)

Madlibs from all three descriptions (heavily edited): #1) flowing style that unfolds, starting spare and earthy, then picking up a fuller, prouder, much more righteous groove. heavy percussion at the bottom of most tracks -- complicated horn passages that verge on the exotic. led by the Phil Cohran, who played with Sun Ra for a bit, plays cornet on the record -- group includes Charles Williams, Don Myrick, Louis Satterfield, Pete Cosey!! (of Miles Davis, circa 73-75), Henry Gibson, Willie Woods, and Aaron Dodd -- a lineup of players who also worked with Sun Ra, The Pharoahs, and Earth Wind & Fire. #2) Mindblowing, crosses all boundaries in the Chicago music scene of the late 60s. drew players from both the soul and jazz scenes, wealth of talents that later worked with Earth Wind & Fire, The Pharoahs, Ra's Arkestra, and other ensembles. Charles Handy, Don Myrick, Aaron Dodd, Henry Gibson, and Louis Satterfield -- and Cohran, who plays cornet (as he did with Sun Ra), plus two "invented" groovy instruments: the violin uke and the great Frankiphone, a sort of electric thumb piano whose use on these recordings pre-dated the very famous Kalimba sound that Earth Wind & Fire would use in the 70s. driving conga funk track "Unity", the singing soulful track "The Minstrel", the incredibly haunting "On The Beach", and the track "Motherhood", with a strong Abbey Lincoln type of feel. Plus, the CD also includes 2 bonus cuts -- "New Frankiphone Blues" ( a funky monster that was only ever out on a 7" single), and a great live version of "Unity" from 1968. #3) a hip blend of jazz, soul, and African elements. spirit of Sun Ra, with a lot more groove, and a lot less avant garde elements. Charles Williams on alto, Don Myrick on baritone, Charles Handy on trumpet, Louis Satterfield on bass, Pete Cosey on guitar (again), and Henry Gibson on timbales and conga.

Eddie Hazel -- Game, Dames, & Guitar Thangs -- Warner/Collectors Choice, 1973

A massively tripped-out guitar-based funk -- legendary Eddie Hazel, best known for his work in the George Clinton (in the early/mid 70's). smoothly compressed California groove, almost an extension of themes explored by Shuggie Otis on his own 70s albums -- taken with a bit more of a P-Funk style. George Clinton produced the set with Eddie -- and the tunes have a nice slow-stepping groove that really opens up the guitar solos wonderfully. massive cover of "California Dreamin" and a great cover of "I Want You (She's So Heavy)".

More in the next post...

Edited February 8, 2008 by Rooster_Ties

[Rooster_Ties]

Terumasa Hino / Masabumi Kikuchi (co-leaders) -- Counter Current -- Sony (Japan), 2007 (so yes, this is a recent recording)

brilliant reunion, a fair bit darker and more experimental than before. a return to more avant modes that is surprising. Kikuchi plays acoustic piano throughout (and Hino trumpet) -- often in a spaciously brooding way -- group features Michael Attias on alto sax, Thomas Morgan on bass, and Paul Motian on drums.

Melvin Jackson -- Funky Skull -- Limelight/Dusty Groove, 1969

Melvin Jackson was the bassist in Eddie Harris' very successful group of the time -- and his playing on Eddie's trippy/funky Atlantic sides. Here, he's working with an acoustic bass, amplified with electronics like a Varitone sax (I've listened to samples of this, and I think they have the bass going through a Varitone itself (if that makes sense) -- or at least the bass is electronically processed quite wildly) -- strange-sounding instrument with Phil Upchurch, Morris Jennings, Jody Christian, and Roscoe Mitchell, Lester Bowie, and Leo Smith. And as I said, but from the Madlib: Jackson's bass is looped through all sorts of crazy effects, amazing blend of avant garde playing and groovy rhythms.

Harold Johnson Sextet -- House On Elm Street -- Revue/Vintage Classics (Italy), Late 60s

Killer album, the Harold Johnson Sextet were an incredible little LA soul jazz combo during the late 60s. Johnson a very soulful pianist, a heavy soul style similar to Ramsey Lewis' Cadet work, tinged with the lyricism of Horace Silver, and the emerging modal sound of Stanley Cowell. an incredible sound, and is very very catchy. The band features Johnson's piano in a very strong lead -- plus flute, alto, and tenor. Billy Jackson plays a hard rolling conga behind the whole thing, it never stops grooving.

Eric Kloss -- First Class (First Class Kloss/Grits & Gravy) -- Prestige, 1966/1967

First half of first album: Jaki Byard on piano, Richard Davis on bass, and Alan Dawson on drums. Second half: a strange but cool larger group -- one with Teddy Charles on vibes, Billy Butler on guitar, and even some female backing vocals! like the George Braith and Freddie McCoy sides for Prestige -- blend of groovy and funky. Second album: organ jazz roots, not as noodly as in some of his later recordings, with Jimmy Owens, Cedar Walton, Leroy Vinnegar, and Alan Dawson -- bounces with soulful pre-funk mode.

Latin Jazz Quintet + Eric Dolphy -- Caribe -- Prestige/OJC, 1960

Rare Latin side of Eric Dolphy's talents. Led by conga player Juan Amalbert with vibes, piano, bass, and percussion. Core groove, with edgier moments.

Life Force -- Fearless Warriors -- Sonorama (Germany), 1981

Sweetly soulful fusion from Atlanta, wonderfully righteous album, similar to Black Jazz label, especially like the group Awakening, great blend of sharp edges and funkier moments -- also a bit like Rudolph Johnson, given the strong reed work in the set. With alto and soprano by Joe Jennings, tenor and soprano by Howard Nicholson, and keyboards by Oliver Wells -- recorded at the start of the 80s, but the overall sound is much more 70s indie soul fusion overall -- nicely stripped-down, never too jamming -- with just as much focus on the core rhythmic elements and grooves of the tunes as there is the bolder solos of the group members.

Harold McKinney -- McKinfolk, Live At The Serengeti -- McKinney Arts, 1996 (so a more relatively recent recording)

legend of Detroit Tribe Records scene of the 70s, with former Tribe artists Wendell Harrison on tenor and clarinet and Marcus Belgrave on trumpet -- plus additional players who include Kiane Zawadi on trombone, Reggie Workman on bass, Francisco Mora on percussion, and Jimmy Owens on trumpet. A bit of vocals, but not that much -- most tracks are long and open -- freely exploratory, but never too far out or avant-styled -- just soulful and spiritual, in the true Tribe Records tradition.

Gil Melle -- Tome VI -- Verve (Japan), 1967

Billed as the first album of "electronic jazz", features Gil working with his Jazz Electronauts combo. sublime blend of jazz roots and more sophisticated instrumentation -- complicated, yet never too harsh or overly-academic. The electronic aspects of the record are sometimes sparing -- mixed into the styles of the combo, often through Gil's use of soprano sax (does he play soprano exclusively on this, or bari too?? -- or anything else for that matter??). Other instruments are electrified too -- a bit of cello, an effects generator, and "electar" -- mixed with more conventional piano, bass, and drums.

Mombasa with Lou Blackburn -- African Rhythms & Blues -- Spiegelei/Sonorama (Germany), 1975

Blend of spiritual jazz and African rhythms -- and one of the few 70s recordings made by Mombasa, a European group put together by LA trombonist Lou Blackburn. More righteous sound than Blackburn's work of the 60s -- a boldness and sense of pride that comes from its blending of percussion, acoustic bass, and soaring horn lines on trombone, trumpet, and bamboo flute. Other African elements, like bits of kalimba -- and the lack of piano or keyboards on the record makes for an especially earthy sound, one that trades rhythm from the percussion with melodies from the horns.

Lon Moshe -- Love Is Where The Spirit Lies -- Black Fire, 1977

intense album of spiritual jazz tracks -- played by Lon Moshe and the Southern Freedom Arkestra! The album was recorded in 1976, during the height of the Black Fire DC underground scene -- and Moshe's playing vibes at the head of a large group that's the most spiritual ensemble on the already pretty darn spiritual Black Fire label. Tracks are long and free floating -- as vibes and marimba mix with piano, strings, percussion, trumpet, and occasional vocals.

More yet, next post...

Edited February 8, 2008 by Rooster_Ties

[Noj]

Those look cool, RT. I have and enjoy Dorothy Ashby Afro Harping, Eddie Hazel Games Dames & Guitar Things, and Melvin Jackson Funky Skull. This has the looks of an expensive thread to me.

[andybleaden]

I dug Afro Harpin for a looooong while and might have to have a groove later on

[Rooster_Ties]

Nate Morgan -- Journey Into Nigritia (Nimbus, 1983), Live In Santa Barbara (early 80's), Retribution, Reparation (early 80's)

Madlibs from all three descriptions: lost spiritual soul jazz classic -- feel of 70s independent work on Strata East or Black Jazz. lots of blocky chords and modal grooves, tight group that includes alto sax solos by Dadisi Komolafe. Blocky, exploratory style that recalls McCoy Tyner's best early work. LA underground. tradition of McCoy Tyner and Stanley Cowell, swirling spiritual feel that's deeply rooted in a Love Supreme tradition. Jesse Sharps on reeds and Danny Cortez on trumpet -- spiralling modal grooves that glisten with the best of the 70s soul jazz underground. includes Herbie Hancock's "One Finger Snap" and Duke Ellington's "Come Sunday".

Houston Person -- Legends Of Acid Jazz, including Person To Person/Houston Express -- Prestige, 1971

First date includes Virgil Jones on trumpet, Grant Green on guitar, Sonny Phillips on keyboards, and Idris Muhammad on drums. Jimmy Lewis plays a Fender bass in the group. Bigger (less named) group on the second date.

Pieces Of Peace -- self titled -- Scarab/Cali Tex, 1972

A lost treasure of rare soul from the Chicago scene, unreleased album by Pieces Of Peace -- a combo with ties both to the late 60s soul of Twinight Records and the early 70s grooves of The Pharoahs. fuller, more complicated modes that often had the same righteous blend of jazz, soul, and spirituality as Earth Wind & Fire.

Prince Lasha -- Inside Story (1965) /Search For Tomorrow (1974) -- Enja (Germany), 1965/1974

Rare work from two albums by Prince Lasha -- featuring Lasha on flute and alto in 1965, in a quartet with Herbie Hancock, Cecil McBee, and Jimmy Lovelace. The tracks are extended and soulful -- with some of the freedoms of the post-Dolphy years, but handled in a way that's got more of a 70s soul jazz approach. And a 1974 live set recorded at the Berkeley Jazz Festival, with a group that includes Ron Carter, Hubert Eaves, and Roy McCurdy. Lasha plays flute, alto, and baritone -- and the tracks are longer, with a more stretched out 70s spiritual approach -- never "out", but exploratory and searching.

(Dr.) Lonnie Smith -- Mama Wailer (Japanese pressing) -- Kudu/King (Japan), 1971

One of Lonnie Smith's rarest albums -- and one of the most obscure records on the landmark Kudu label. The set is one of Smith's most far-reaching from the 70s -- a bit in the mode of his earlier records for Blue Note, but with a slightly sweeter quality that shows the shift to Kudu. including Dave Hubbard on tenor, Danny More on trumpet, Ron Carter on bass, Jimmy Ponder on guitar, and Billy Cobham on drums -- as well as Grover Washington on flute, who also helped a bit with arrangements on the record. The centerpiece of the album is a 17 minute long version of Sly Stone's "Stand" -- and other tracks include "I Feel The Earth Move", "Hola Muneca", and "Mama Wailer".

VSOP (Herbie Hancock, et al) -- Five Stars -- Sony (Japan), 1979 (and god-awful expensive at $29.99)

Japanese-only set -- Herbie, Wayne, Freddie, Ron, Tony. Four long tunes.

Mal Waldron -- Call -- Japo (Japan), 1971

Rare electric piano session from Mal Waldron. 2 long tracks only -- both quite jamming -- with a quartet that includes Jimmy Jackson on organ, Eberhard Weber on electric bass, and Fred Braceful on drums -- all pulsating nicely together on Waldron originals "The Call" and "Thoughts". (Electric piano and organ both??)

Mal Waldron -- Whirling Dervish -- Universal (France), 1972

long tracks that are filled with creative energy and strong lines on the piano -- never too far outside, markedly more unfettered than any previous Waldron work in the US. The rest of the trio here features Noel McGhie on drums and Peter Warren on bass.

(Too many images in one post, screw it -- imagine there's a pic of a White Elephant here)

White Elephant (Mike Mainieri) -- White Elephant -- Just Sunshine/NYC, 1972

vibist Mike Mainieri -- easily one of his hippest albums ever -- blend of jazz and funky fusion. reminds us a lot of the best British funky big band records of the same time. slight undercurrent of rock music going on too in a way that further hips up the groove. Michael Brecker on tenor, Randy Brecker on trumpet, Joe Beck on guitar, Ronnie Cubar on baritone sax, Jon Faddis on trumpet, and Warren Bernhardt on keyboards. Rhythm is from Steve Gadd on drums and Tony Levin on bass. a bit of vocals.

OK, I think that's about it.

Edited February 8, 2008 by Rooster_Ties

[Noj]

Lonnie Smith Mama Wailer is OK, not my favorite from the good Doctor.

Whoa! The Pieces Of Peace have their own album!?!! That's Syl Johnson's band.

[Bright Moments]

damn - now i have a bunch more things on MY want list!

[JSngry]

Here's what I've heard & here's what I think:

1 - Dollar Brand - Recommended. The lineup tells you what it'll be.

2 - Philip Cohran & The Artistic Heritage Ensemble - Recommended, 60/40 historical/musical, very much a Chicago thing and hell yeah for that.

3 - Eddie Hazel - Yeah, ok and all that, but for me, very few P-Funk side projects hit with the power & focus of the main outfits, and this one is like that for me. But Eddie Hazel was a voice.

4 - Melvin Jackson - Oh hell yeah. Wacky in the best possible way. Very much a Chicago thing and extra hell yeah for that.

5 - Harold Johnson Sextet - Didn't work for me. Kinda like a formulized cross between Ramsey Lewis & Les McCann, and yes, that remark is dripping with irony and/or sarcasm, thanks for noticing.

6 - Eric Kloss - Yeah, sure, why not? Kloss is the weakest link on his own albums (at this stage anyway), but hell, with these supporting casts, hey...

7 - Life Force - A lot more "clubby" (i.e. - funk-oriented) than the description lets on, but the vibe is really, really good. Maybe it's because these are (were, actually, it's a 25 year old album...) young-ish players seemingly full of idealism and populism who apparently saw nothing wrong with "playing for the people" & "playing seriously", if only because for where they were at then, those were the same thing. There used to be a buttload full of bands like this in every urban area, and if this one is not a lot better than a lot of the others, oh well. This album made me feel good (and I don't mean "feel good") about some things and didn't make me feel bad about too much of anything. No doubt you can find a better deal, and when you do you should take it, but until then (and possibly even after), file this one under Documentary, Pleasant.

8 - Gil Melle - A lot of people are either indifferent or unfond of this album, and they are right. But you'll want it anyway. Trust me. Yes, soprano exclusively, and what the music lacks in "power" it makes up for in "deceptively original vision". Implication over actuality That's a fair trade if you ask me, at least in this case. The electronics are very basic but that's not the point. The point is - what the hell gets anybody even thinking along these lines in the first place?, and there, Dear Friends, is the answer to the question of What's In It For Me?.

Now, if money's really tight, stick w/the Brand & the Jackson, the only two of the above for whom I feel that "context" and/or "back story" are not fundamental/crucial parts of their appeal. Maybe the Cohran stuff too, maybe. But otherwise, there it is AFAIC. None of these will deepen the pool, but they sure will broaden the hell out of it.

[JSngry]

Dammit, are you through now? :g

Nate Morgan -- Journey Into Nigritia (Nimbus, 1983), Live In Santa Barbara (early 80's), Retribution, Reparation (early 80's)

Madlibs from all three descriptions: lost spiritual soul jazz classic -- feel of 70s independent work on Strata East or Black Jazz. lots of blocky chords and modal grooves, tight group that includes alto sax solos by Dadisi Komolafe. Blocky, exploratory style that recalls McCoy Tyner's best early work. LA underground. tradition of McCoy Tyner and Stanley Cowell, swirling spiritual feel that's deeply rooted in a Love Supreme tradition. Jesse Sharps on reeds and Danny Cortez on trumpet -- spiralling modal grooves that glisten with the best of the 70s soul jazz underground. includes Herbie Hancock's "One Finger Snap" and Duke Ellington's "Come Sunday".

Houston Person -- Legends Of Acid Jazz, including Person To Person/Houston Express -- Prestige, 1971

First date includes Virgil Jones on trumpet, Grant Green on guitar, Sonny Phillips on keyboards, and Idris Muhammad on drums. Jimmy Lewis plays a Fender bass in the group. Bigger (less named) group on the second date.

Pieces Of Peace -- self titled -- Scarab/Cali Tex, 1972

A lost treasure of rare soul from the Chicago scene, unreleased album by Pieces Of Peace -- a combo with ties both to the late 60s soul of Twinight Records and the early 70s grooves of The Pharoahs. fuller, more complicated modes that often had the same righteous blend of jazz, soul, and spirituality as Earth Wind & Fire.

Prince Lasha -- Inside Story (1965) /Search For Tomorrow (1974) -- Enja (Germany), 1965/1974

Rare work from two albums by Prince Lasha -- featuring Lasha on flute and alto in 1965, in a quartet with Herbie Hancock, Cecil McBee, and Jimmy Lovelace. The tracks are extended and soulful -- with some of the freedoms of the post-Dolphy years, but handled in a way that's got more of a 70s soul jazz approach. And a 1974 live set recorded at the Berkeley Jazz Festival, with a group that includes Ron Carter, Hubert Eaves, and Roy McCurdy. Lasha plays flute, alto, and baritone -- and the tracks are longer, with a more stretched out 70s spiritual approach -- never "out", but exploratory and searching.

(Dr.) Lonnie Smith -- Mama Wailer (Japanese pressing) -- Kudu/King (Japan), 1971

One of Lonnie Smith's rarest albums -- and one of the most obscure records on the landmark Kudu label. The set is one of Smith's most far-reaching from the 70s -- a bit in the mode of his earlier records for Blue Note, but with a slightly sweeter quality that shows the shift to Kudu. including Dave Hubbard on tenor, Danny More on trumpet, Ron Carter on bass, Jimmy Ponder on guitar, and Billy Cobham on drums -- as well as Grover Washington on flute, who also helped a bit with arrangements on the record. The centerpiece of the album is a 17 minute long version of Sly Stone's "Stand" -- and other tracks include "I Feel The Earth Move", "Hola Muneca", and "Mama Wailer".

VSOP (Herbie Hancock, et al) -- Five Stars -- Sony (Japan), 1979 (and god-awful expensive at $29.99)

Japanese-only set -- Herbie, Wayne, Freddie, Ron, Tony. Four long tunes.

Mal Waldron -- Call -- Japo (Japan), 1971

Rare electric piano session from Mal Waldron. 2 long tracks only -- both quite jamming -- with a quartet that includes Jimmy Jackson on organ, Eberhard Weber on electric bass, and Fred Braceful on drums -- all pulsating nicely together on Waldron originals "The Call" and "Thoughts". (Electric piano and organ both??)

Mal Waldron -- Whirling Dervish -- Universal (France), 1972

long tracks that are filled with creative energy and strong lines on the piano -- never too far outside, markedly more unfettered than any previous Waldron work in the US. The rest of the trio here features Noel McGhie on drums and Peter Warren on bass.

(Too many images in one post, screw it -- imagine there's a pic of a White Elephant here)

White Elephant (Mike Mainieri) -- White Elephant -- Just Sunshine/NYC, 1972

vibist Mike Mainieri -- easily one of his hippest albums ever -- blend of jazz and funky fusion. reminds us a lot of the best British funky big band records of the same time. slight undercurrent of rock music going on too in a way that further hips up the groove. Michael Brecker on tenor, Randy Brecker on trumpet, Joe Beck on guitar, Ronnie Cubar on baritone sax, Jon Faddis on trumpet, and Warren Bernhardt on keyboards. Rhythm is from Steve Gadd on drums and Tony Levin on bass. a bit of vocals.

OK, I think that's about it.

Nate Morgan - Get it. Get all that Nimbus West stuff. Broad, not deep, but as essential in that regard as anything is.

Houston Person - It is what it is, so look at the names and make your call. Me, I dig it.

Pieces Of Peace - Chicago stuff, on the road from The Pharoahs to Boscoe. If that makes sense (or if you want to know what it means), then yeah, go there.

Prince Lasha - Recommended. I dig Prince Lasha.

Lonnie Smith - I'm ambivalent about this one, but it does have Marvin Cabell.

Mal Waldron(s) - Dude, Mal Waldron, ok? Mal Waldron.

[Rooster_Ties]

Dammit, are you through now? :g

Yup, that's all I've got saved. No way I can get all of it, clearly.

[JSngry]

Well hell dude, get these too!

I kid you not.

[kh1958]

I've only heard two on your list--

Dorothy Ashby, Afro-harping--very enjoyable (her best?).

Eric Kloss, First Class--If you love the rhythm section of Byard/Davis/Dawson (like me), you definitely want this one (mostly for that album).

[Teasing the Korean]

I have both of those Dorothy Ashby albums and love them both.

It's been a while since I've spun that Eric Dolphy/Latin Jazz Quintet album but I remember liking it alot.

[jlhoots]

I have 2 of the 3 Cohrans & the Melvin Jackson.

All worthwhile.

You should add the Bosco CD to your list.

[JSngry]

http://www.dustygroove.com/browse.php?labe...&format=all

+

If not now, when? If not you, then who?

[Free For All]

What I want to know, Tom, is how to make that little trademark thingie on the thread title.

[Aggie87]

What I want to know, Tom, is how to make that little trademark thingie on the thread title.

Alt+0153 = ™

Alt+0174 = ®

Alt+0169 = ©

Or alternately, they're all available on your computer at charmap.exe.

edit - Sorry, I wasn't Tom, so I can delete that if you prefer...

Edited February 8, 2008 by Aggie87

[jimi089]

I guess it all depends on your taste, but I own and enjoy:

All 3 Phil Cohran titles

Melvin Jackson - Funky Skull

Both Dorothy Ashby records (although I prefer Afroharping)

[Free For All]

What I want to know, Tom, is how to make that little trademark thingie on the thread title.

Alt+0153 = ™

Alt+0174 = ®

Alt+0169 = ©

Or alternately, they're all available on your computer at charmap.exe.

edit - Sorry, I wasn't Tom, so I can delete that if you prefer...

Thanks!

[analogak]

roositer road, i am about to sell like 95% of my CDs. among these are the betsch, person, melvin jackson and the kloss. i also have "mama wailer" and i guess i enjoy it a lot more than jon does because that is one of the twenty or so CDs i am keeping. the second half of the person disc (with the bigger band) is great but the first session is, to me, kinda boring. though i guess it is just pure so if you like some hearty tenor with some organ, etc it is good. the second half is great bernard purdie driven jazzy funky soul stuff. the betsch is good...interesting...doesn't sound like a classic but it is an interesting and worthwhile effort. the kloss has some very high points but is maybe patchy. high points are high, though. second half suffers from schlitten-itis. the melvin jackson is fun and good but i would rather hear a bassist lay it down than do weird scratchy high lines. that is just me maybe. i should listen to the lonnie smith again i guess, but i found it very enjoyable last few listens.

[analogak]

listening to dumpy mama wailer right now and i don't know why people don't like it. maybe because he uses clavinet on the first tune rather than organ? i dunno....but it is a good album and ends with a weird version of the sly tune "stand" that gets kind of trippy for a kudu album from 1971. and me personally, i am a fan of early billy cobham on these kind of sessions.

[Dan Gould]

What I want to know, Tom, is how to make that little trademark thingie on the thread title.

Alt+0153 = ™

Alt+0174 = ®

Alt+0169 = ©

Or alternately, they're all available on your computer at charmap.exe.

edit - Sorry, I wasn't Tom, so I can delete that if you prefer...

Thanks!

You don't need to know the code to post on the board. Parentheses around tm, c and r will make it happen.

©

®

[clifford_thornton]

Dammit, are you through now? :g

Prince Lasha -- Inside Story (1965) /Search For Tomorrow (1974) -- Enja (Germany), 1965/1974

Rare work from two albums by Prince Lasha -- featuring Lasha on flute and alto in 1965, in a quartet with Herbie Hancock, Cecil McBee, and Jimmy Lovelace. The tracks are extended and soulful -- with some of the freedoms of the post-Dolphy years, but handled in a way that's got more of a 70s soul jazz approach. And a 1974 live set recorded at the Berkeley Jazz Festival, with a group that includes Ron Carter, Hubert Eaves, and Roy McCurdy. Lasha plays flute, alto, and baritone -- and the tracks are longer, with a more stretched out 70s spiritual approach -- never "out", but exploratory and searching.

Prince Lasha - Recommended. I dig Prince Lasha.

Sangrey is biased because he played with Prince Lasha.

[analogak]

oh "the call" used to be one of my top 3 albums ever when i owned it on vinyl (still do) but when i bought the CD my tumesence faded.

the reason being i began to dislike the long spacey section in the second song.

but overall that album has everything i could want (2 keyboards, eberhard weber, a soulful underrecorded drummer, on japo) but that spacey section made me lose my boner....making the fading of my love even sadder because it could have been the perfect album.

[sidewinder]

I have the first of the Phil Cohrans to come out ('On The Beach') and it is a very groovy listen. Available on vinyl too. And Pete Cosey is on there !

All of the Kloss Prestiges are worth getting hold of. The 'Grits and Gravy' session with the vocals I particularly like.

'Tome VI' is great too. Almost like jazz-influenced trance music, definitely worth picking up. I think Melle is on soprano - don't recall any baritone on there. Have the Verve vinyl.

Lots of items on this thread look interesting. Must resist..

Edited February 8, 2008 by sidewinder