danasgoodstuff

A tenor player I knew in MN used to do a Mobley tribute band called Straight No Filter whenever he could get gigs for them around the Twin Cities. His name is Scot Fultz. I'm not sure if he still does SNF but whatever he's doing is usually worth checking out. I am slightly biased 'cause he let me read my Hank Mobley poem with the band at a gig once.

I think that's a customer review from Amazon.com

I was going to post something about 'what is Michael Henderson up to now?' but then I read in the Nov. issue of the Jazz Society of Oregon Newsletter that he was going to be playing here in Portland with this bunch of mostly Miles alums on Sat. the 8th. See www.thegoodfoot.com. Anyone heard Children on the Corner? The other members are Sonny Fortune (or Sam Morrison according to one source!), Barry Finnerty, Badal Roy, Michael Wolff, and Ndugu Chancler (or Victor Jones). Maybe they could double bill with the Electric Mud band featuring Pete Cosey! That still leaves Reggie Lucas unaccounted for...

Hans, I always wanted to take a thread off on a tangent so I am quite pleased to say that I too love the Clovers. What's not to like, great material and production curtesy of Atlantic, great singing from the group despite the usual personnel changes curtesy of the draft. I think their closest competition would be the 5 Royales who sang in a similar style and were more self contained due to bass singer/guitaris Lowman Pauling's writing skills.

No, that's just "Clover" NOT "The Clovers" who were a '50s vocal group who recorded "One Mint Julep" and other R&B hits for Atlantic.

Hans, My Aium is True is indeed quite an album, but it's not the Attractions but rather a band called Clover who later became Heuy Lewis' News. If you want to hear the Attractions play (the shit outta) the material from My Aim get the Live @ the El Mocombo promo/boot (part of the 2 1/2 Years box) or various live boots and bonus tracks...

I kinda liked Laurie Pepper's notes which provide insight into Art the complicated person, rather than technical stuff about the music. Basically he got to be a sideman on his own records here (kinda like [D]erek & the Dominoes that way). Which means he wasn't responsible for the albums on a conceptual level and was free to just play well on material, and with people, he wouldn't have had the opportunity to do otherwise. If you're at least a 'pretty big' Pepper fan you'll probably dig it. I certainly do. But then I own the complete Galaxy box (16CDs), so I guess I'm more than a pretty big fan.

TEE NAH! NAH NAH NAH NAH NAH NAH NAH NAH NAH NAH NAH NAH NAH TEE NAH NAH NAH NAH NAH NAH NAH NAH NAH! BUY THEM ALL! P.S. I've happily owned the Mosaic for years.

My dad (Robert Ian Scott, "the Canadian linguist" according to Vanity Fair) did something kinda similar years ago when computers took up whole rooms he and someone else at the U of Sask. had one programmed to generate parodies of The Wasteland. 'Bout as good as the original as I remember.

Another tenor player who sometimes played bari is Alvin 'Red' Tyler, of NOLA, who played with Red Holloway for Prestige as well as lots of R&B dates.

IMHO, this is one of the greatest things on BN, esp'ly the deluxe dbl time ed with its extra (earlier) session. However, in previous discussions on this and that other board, there was a substantial dissenting opinion which found it to be kinda snoozy. It's more a blue ballads thing than a blues album per see and I would expect that opinion would divide along the same lines as the recent AOW discussion of Street of Dreams. Maybe we could do a poll on these two and, say, A I Blue? Hopefully if you weigh the various members opinions according to what you know 'bout there tastes relative to your own you will get a good indicator of whether you will like it (not that it's ever totally that simple, nor should it be).

Oh, I forgot John Fahey's lovely solo guitar Christmas albums, two of which are doubled up on CD. All the flavour of the season but much less sugar than usual...

Mike, Thanx for the elucidation, I hope I didn't sound too flippant with my question. Nonetheless I think authenticity is always a difficult issue, or nonissue.

On the authenticity issue: Of course, it's always good to know what the "authentic" sound is...but that doesn't always, or even usually, mean that's what I want to hear. And specifically, isn't even Brazillian bossa nova a bastardization of samba mixed with stuff they pick up from American jazz?

I was gonna guess the Zoot Simms bossa nova album for #8 (I've heard it but don't remember too well) BUT I don't think he did that tune... Jsangry: OK, at exactly what point in this attentuated analogy do you realize it's not the same old same old, somewhere between the "oo" and the "ah"?

I've got both the Timmons and Patterson Holiday Soul albums: I's say good but not great with a slight nod to the Patterson. I also like the KB Have Yourself a Soulful... and Emy Lou Harris' Light of the Stable, the various artist's Soul Christmas (includes Clarence Carter's "Back Door Santa"), Phil Spector's Christmas Gift For You" (the most imitated?), the Ventures' _____(Xmas fare set to rock riffs, v. funny), and the Boston Camerata's series of obscure seasonal fare from the middle ages, rennasance, etc.

OK, I'm not familiar (sp?) with the Tjader but I do have a few other ...w/ strings dates I can reccomend: 1) Clifford Brown w/ Strings - the strings writting isn't much but it's Clifford playing ballads so the rest doesn't really matter; 2) Winter Moon by Art Pepper - good string writting for a relatively small section, great playing by Art but mixed bag material; 3) Focus by Stan Getz - great string writting, great Getz.

i've got a spare copy of the Mosaic if any one here is interested...

I pretty much agree with the comments above re Joni & Jaco, etc. so I've not much to add on the music itself but I do have a story y'all might find interesting. I happened to be in Saskatoon at the same time as Joni's big show of paintings and photo's at the Mendal Art Gallery there ('the Mental' to locals). I went and quite enjoyed it but the funny part was that nobody I knew in saskatoon even considered going even though they all knew about it--"It's just Joni, she can't really paint can she?" I still have the program, maybe I should put it on ebay...

Got my yesterday, will try to post reactions soon.

I believe that Don Pullen also plays organ on Maceo Parker's sublimey greasy Roots Revisited, along with Bill Stewert and Rodney Jones.

Sweet Home Chicago - as played by Robt. Johnson, Magic Sam and countless others. Running Back to saskatoon - by the pride(?) of Winnipeg, Manitoba (the Guess Who) 'cause it mentions all those canadian prairie (sp?) towns (I grew up in saskatoon).

"Utter Chaos #2", great for filling small gaps at the end of tapes, great title and just plain great!

OK, maybe this should go in the most disappointing thread instead, but here goew: Am I the only one who thinks that Lee with Hank AND Jackie doesn't work as well as Lee with Hank OR Jackie. Don't get me wrong, I love them both and thought they'd be great together in a sweet and sour contrasty kind of way but for me they just tend to cancell each other out. It's not that I'm generally opposed to sextets or other multi-horn lineups, I prefer the sextet editions of Miles and the Jazzz Messengers, but these too pull in opposite directions and leave me torn. OK, I'll quit with the bad metaphors but what do you think?

I agree, Monk's Big Band and Quartet is one of the best things of his on Columbia. Didn't Hal Overton also do new arrangements for a couple of Monk big band concerts in the late '60s/early '70s? (And were the recorded?) I'm also wuite fond of the octet tour of Europe, kinda the best of both worlds (big band and small, I think 'mid-sized' bands are generally v. overlooked/underated but that's a rant for another day...).