Art Blakey - Hold On I'm Comin'

[bertrand]

Is this as bad as I suspect it is? Do Patton and Green get any solo space?

Thanks,

Bertrand.

[brownie]

Was listening to that one a while ago (after finding out it was John Patton on organ!)

Let's consider it as a fun record. And a not too bad one. Certainly not a Messengers album (except for the final track 'Slowly but surely' which must have been added to compensate for the short playing time of the album.

Patton and Grant Green get short solo space on a number of tunes. So is Frank Mitchell and you don't get many chances to listen to him...

[bertrand]

Hmmm, sounds like it might be worth it. How about Buttercorn Lady? Frank Mitchell is on that one also.

Bertrand.

[jeffcrom]

Hmmm, sounds like it might be worth it. How about Buttercorn Lady? Frank Mitchell is on that one also.

Bertrand.

I kind of like Buttercorn Lady, although nobody else much seems to. I even think that Chuck Mangione sounds pretty good on that one.

[brownie]

How about Buttercorn Lady? Frank Mitchell is on that one also.

Bertrand.

I've got that one somewhere.

Wish I could lay hands on the LP so that I could recheck it.

I remember it as not too bad. I was not too keen on buying it when it was available and was rather pleasantly surprised...

[Stereojack]

I like "Buttercorn Lady", although it seems to rate low among Blakey fans for some reason. I saw this group live at the time, and was put off by the rather jive antics (or so we thought) of Chuck Mangione, but years later when I finally heard the record, it was way better than I expected.

"Hold On I'm Comin'" is strictly for the completist.

[JSngry]

Mangione out-anticing Jarrett. Amazing!

[Stereojack]

Mangione out-anticing Jarrett. Amazing!

As I recall, Mangione was wearing a silver double breasted suit, with slicked back hair, and his whole demeanor struck me as a jive hipster, who he had no right to be because he was white (I was pretty young at the time). Looking back, I think we may have been rather harsh on Mangione, who probably had to endure a fair amount of crap for being white in a band that had always been black. The "hippie" image he had adopted by the 70's served him better. Limelight was probably smart in not including any photos of the band in the jacket. Jarrett was young and serious; there was none of the ego tripping that he indulged in later.

[felser]

I've always considered Buttercorn Lady to be less than the sum of it's parts. The post-Hubbard/Shorter/Fuller/Walton/Workman 60's bands have always sounded like quite a letdown to me, even with the intriguing names. The one exception is that ubiquitous 1968 live session with Billy Harper, Julian Priester, Bill Hardman, Ronnie Mattews, and Lawrence Evans (who I am otherwise unfamiliar). It is available under any number of names on any number of budget labels, but it is great! Other than that, nothing really catches my ear until the 1973 Prestige recordings with Woody Shaw, Carter Jefferson, and Cedar Walton, though the one with Carlos Garnett and Joanne Brackeen from 1970 isn't half bad (but again, less than the sum of it's parts). Blakey didn't record regularly from 1966 until 1973 (and Max Roach didn't record regularly from 1968 until 1977) - what was that all about?

[Chuck Nessa]

Bu and Max were "behind the curve" at the time and it took them a minute to adjust and move on.

[chewy-chew-chew-bean-benitez]

Bu and Max were "behind the curve" at the time and it took them a minute to adjust and move on.

re- i dont know enough about max but re- the Bu part,

i compeletly agree, in 1965 u have the jazz625 video (uk) here you have john gilmore/lee morgan -- john hicks/victor sproles....on the ginza....1966 comes, and blakey by this point is not w/ bluenote into the liberty era. liberty releases old stuff, "like someone in love'...but blakeys now on Limelight and stuff, the records arent has hot. even though lee morgans still involved. was blakey forced do go more commerical or what was up with this whole period, for reals. was leaving bluenote the impataus for all of it. why did Bu go commerical. or try. his limelight period, i mean hes not "completely selling out", its still jazz. but its just different. you know what im talking about. did blakey change his thinking about the role the jazz messengers sholud play in jazz. cause the difference in time between jazz625 on the ginza gimore/morgan, and "soundtrack to were having a ball" is not very great, time diff. but musically,......wow... isnt gilmore ALSO on that still? WTF! i mean you still have the great lineup. but the music has just been popped like balloon, all the air is sucked out. you have to watch jazz625 on the ginza then listen to S'make it , u know?

why did bu leave bluenote. was it cause alfred left. cause they left roughly the same time. bu didnt record one note for bn in the liberty era. god dont make me email michael cuscana again, i think hes so sick of me, he answered one question but i compeletly freak out on him on all these little idosyncraces about bluenote like every detail of the condition of each blue note hank mobley master tape, god i need pics so bad, sooooooooo bad- oh also i had this record (hold on im commin) in my car the night i was hit by a drunk driver real bad so its also cursed cause of that.

Edited November 5, 2011 by chewy

[DMP]

Just heard this for the first time, it's pretty dreary (despite the nice tenor). It's in the vein of "The Further Adventures of El Chico" (similar tunes, format), but nowhere near as good or fun. Not that THAT's any classic...