AOTW 8-14 October 2006

[The Magnificent Goldberg]

what do you all think of "intensity"?

I think it's great. The only thing I don't get is why it says "The Complete

Sessions with Lee Morgan" or something like that on the cover when

three more tracks from those sessions are on the Funk Fantastique CD

(and all of them together easily fit on one CD - I burned myself a CD-R ).

They had lost those tracks that were included in "Funk fantastique". The producer who put that album together didn't realise that "Funk fantastique" was "Morgan" (until I pointed it out - he isn't a keen organ fan). Then he did some research and found that it was the original mix and original title. That track was retitled, remixed and the fade ending cut down for "Intensity". The original and the two other tracks seem to have been put in what my wife describes as "a safe place" - there to reside for 32 years.

MG

[Guest akanalog]

i notice on leaving this planet that there are a number of musicians i wasn't familiar with listed.

i see this on other earland albums too and i think i have seen it on hammond smith and groove holmes albums as well.

did organists really like to use their own guys on sessions rather than the bigger names?

[clifford_thornton]

i notice on leaving this planet that there are a number of musicians i wasn't familiar with listed.

Taken out of context, that's pretty funny...

[mikeweil]

i notice on leaving this planet that there are a number of musicians i wasn't familiar with listed.

i see this on other earland albums too and i think i have seen it on hammond smith and groove holmes albums as well.

did organists really like to use their own guys on sessions rather than the bigger names?

I think it was always a compromise between the producer's ideas and the musician's - All Star lineups are supposed to sell better, but the musician prefers his working band. Did you read Michael Cuscuna's notes on the Groove Holmes Pacific jazz releases that he had wanted to record his trio from the start but was forced into three other projects before they finally gave in? By the time they released it, he had switched to Prestige and scored his first hit with a trio recording .... If you have a good working band you want to give the players credit, and the best way to promote them is to feature them on your albums.

[The Magnificent Goldberg]

But sometimes the leader's own band isn't up to much. Boogaloo Jeo Jones' first album for Prestige was done with his own band - produced by Cal Lampley - and is so-so. Very so-so. His next was produced by Boob Porter andhe insisted on getting Harold Mabern, Peck Morrison, Bill English and Richard Landrum. And it was very good indeed. All the time Jones recorded for Prestige, he had to use Prestige's selection of sidemen - and it got even better.

I think the same was true for Rusty Bryant.

MG

[Guest akanalog]

on bryant's "friday night jazz for saturday night brothers" or whatever it is called, i think he used his own dudes.

[Guest akanalog]

but also yeah, for all those prestige soul jazz albums why the hell wouldn't you want to use the house team? they were awesome.

[The Magnificent Goldberg]

but also yeah, for all those prestige soul jazz albums why the hell wouldn't you want to use the house team? they were awesome.

Oh yes indeed! And also there were a number of house teams, so Bob Porter could pick the right combinations to suit the leader - as Alfred Lion did in hard bop. So, depending on who the leader was, you could have any combination of Idris or Purdie; Spencer, Phillips or Earland; Sparks, Butler or Boogaloo Joe; Houston, Rusty or Grover; Virgil or no trumpet player

MG