Jazz for aficionados

That first one we saw was probably due to some "Hissy fit" Paul Desmond was having about Joe Morello.



                      https://www.youtube.com/watch?v=XpZHUVjQydI

Trane at his best.


When you hear any of the top 100, you don't have to ask "WHY"?



Enjoy the music.

Oliver Sain was another local musician who was in popular demand around town, and one I had the good fortune to have a long chat with.

He was sitting in the hot tub at the spa, and I recognized him. Since I had gone to the clubs that he played down through the years, we had a lot to chat about; before and after he hit the big time with Fontella Bass.

He told me how nice it was living large in the house on the hill, but he knew when it was time to sell, and come back down. We talked about wild times at some of the clubs he played before hitting the big time; he even invited me to come see him where he was performing at that time, but I didn't make it.


Oliver Sain (born March 1, 1932, Dundee, Mississippi – died October 28, 2003, St. Louis, Missouri) was an American saxophonist, songwriter, bandleader, drummer and record producer.

As a performer and as a producer, Oliver Sain exerted an influence on the evolution of St. Louis and R&B that is rivaled only by that of his close friend and infrequent collaborator Ike Turner. Sain was the grandson of Dan Sain, the guitarist in Frank Stokes’ legendary Memphis blues act the Beale Street Sheiks.

In 1949, Sain moved to Greenville, Mississippi to join his stepfather, pianist Willie Love, as a drummer in a band fronted by Sonny Boy Williamson, soon leaving to join Howlin’ Wolf where he acted as a drummer on and off for the following decade. After returning from the United States Army draft he took up the saxophone.

Sain is credited with launching the career of Little Milton, who became a vocalist in Sain’s band, and discovering Bobby McClure and Fontella Bass, whom he originally hired as pianist for Little Milton. He is also associated with the discovery of Kim Massie, who was largely unknown until she was heard sitting in with his band.

Sain wrote "Don't Mess up a Good Thing" which was a number one hit in the US for Bobby McClure in 1965. The song was later covered by Greg Allman of the Allman Brothers Band, on his solo album Laid Back. In the mid-1970s, he recorded his own disco records such as "Bus Stop", "Booty Bumpin' (The Double Bump)" (1975), "Party Hearty" (1976) and "Feel Like Dancing" (1977).

Sain died on October 28, 2003 from bone cancer, which followed on from previous bladder cancer.


He was well known and liked by everybody in St. Louis.




                  https://www.youtube.com/watch?v=Bt1VjRpBMjs




Enjoy the music.

Rok, thanks a lot for that supporting link on Oliver Sain. He looked the same as he looked on that interview the last time I saw him; he was in the hot tub looking fit as a fiddle (however fit that is) and we talked for a long time about when he was on the bandstand, and I was in the club where he was playing, having a ball. Although we didn't know one another during those times, we were in the same space at the same time, that made us feel like long lost friends; especially considering those times spanned so many years.

(pardon me if I pass on that absurd question) Half of the south is named 'Sonny Boy'

He was so easy to talk to that he felt like a long lost friend. Late 90's is as close as I can get to the last time I saw him. Thanks again for that link.




Enjoy the music.

Pirius, I have a number of those same albums you have by Dexter Gordon and Herbie Hancock. I noticed you didn't mention Herbie's fusion albums, and I'm curious about them; albums like "Head Hunter" for example?


Enjoy the music

Rok, here's another local jazz vocalist I saw a lot. The reason I'm looking up all these St. Louis musicians, is because I can't remember the name of the pianist I've mentioned so many times, who could play Silver's tunes as good as the man himself.

The last time I saw him, he was at a lounge where all the "Peacocks" went; the men were as vain as the women, and were always meticulously dressed in the most expensive attire. Everyone came to see, and be seen, almost no one was listening to the music. When I came in, I was alone and I came to hear him play. He knew I liked Horace Silver, and that's when he would jam "Nica's Dream", or "Senor Blues".

Most of the time I came in before he started playing so we could rap. I've already mentioned his photographic portfolio that had him playing with the musicians we have discussed so much when they came to St. Louis and needed keyboards. (watch Frogman chime in and say "You told us that before")

When everybody you knew is dead, that's a scary feeling, but that's the price one pays for getting old. I'm glad Jeanne Trevor is still around.

Here's the link for Mae Wheeler, I really had some good times at the places she entertained.



                    http://www.riverfronttimes.com/musicblog/2011/06/19/jazz-singer-mae-wheeler-passes-away-updated-with...




Enjoy the music.

Rok, it's getting so bad that I have to look in the mirror, and pinch myself to make sure I'm still here. While looking for that pianist friend of mine, I just discovered the nightclub owner of the place I described as where the "Peacocks" hang, has gone on to that big club in the sky.


       


        http://stljazznotes.blogspot.com/2015/03/rip-gene-lynn-singer-and-nightclub-owner.html



It's so bad I'm expecting to see my obituary next.



Enjoy the music.

"Mary Lou's Blues" is just too hip; WSIE played this just a few minutes ago, they're trying to catch up to the one and only; ORPHEUS!

Rok, how long have we been into Mary Lou Williams? These "Johnny come lately's" are trying to catch up.


        https://www.youtube.com/watch?v=r3_8X7uaKiQ


This is followed by "The Blues"


              https://www.youtube.com/results?search_query=mary+lou%27s+blues


Frogman, could you give us your professional critique on these two tunes?





Enjoy the music.

I was just reading about "Live Trane: The European Tours" ; Trane, tenor and soprano sax; Erik Dolphy alto sax, bass clarinet, flute; McCoy Tyner piano; Reggie Workman bass, Jimmy Garrison, bass; Elvin jones drums. This set contains music from nine concerts that took place between November 61, and November 63 ( I saw Trane, McCoy Tyner, Elvin Jones, and Jimmy Garrison, in the dead of Winter 63, must have been in January)

The sonic quality of this set is 2 1/2, while the performance is rated 5 out of 5 stars. There are five versions of Mr. PC, four of "Naima" and six of "My Favorite Things", ranging from 14 to 25 minutes. I saw the 25 minute version; fortunately there was a musician seated at our table who thoroughly enjoyed the extra time on my favorite things, while the rest of us were somewhat bewildered. I'm sure that Frogman, and Learsfool would have appreciated that extra time, because they're musicians.

A case can be made that "Live Trane" documents the crucial transition in Coltrane's artistic development, when he moved from chord-based "vertical" improvisation to open ended "horizontal" melodic invention based on scales and modes.

Carlos Santana states, "John Coltrane broke through to the other side. He found "The Light", and for a time, he became "The Light". This concert contains eight hours of music, you glimpse what it was like to be in the presence of Coltrane when he lived.

I think that last paragraph sum it all up.





Enjoy the music.

When People think of John Coltrane, they seldom think of his sentimental side;

"Coltrane for Lovers" exposes a side of "Trane" that's rarely explored.



All tracks have John Coltrane playing tenor saxophone.


1. "My One and Only Love"
2. "Too Young to Go Steady"  
3. "In a Sentimental Mood"  
4. "It's Easy to Remember"  
5. "Dedicated to You"    
6. "You Don't Know What Love Is"
7. "After the Rain"  
8. "My Little Brown Book"
9. "Soul Eyes" Mal Waldron
10. "They Say It's Wonderful"
11. "Nancy (With the Laughing Face)

The recordings compiled for Coltrane for Lovers initially received criticism for Coltrane's stylistic move from complex jazz compositions of the free jazz form to a simplistic formula of ballads and blues. Following the initial controversy, the album's recordings gained a legacy as one of Coltrane's most popular recordings and significant in the genre of romantic jazz.


        https://www.youtube.com/watch?v=r594pxUjcz4



        https://www.youtube.com/watch?v=JrwSuy6ZBjI


Here we have "In a Sentimental Mood" and "You Don't Know What Love Is"




Enjoy the music.

"Outstanding late night romantic jazz", that's a perfect description; right now the sun is shining very bright, and it's a long time since I've been in a romantic mood. After it gets dark, if I can find anyone to get in a romantic mood with, that just might work; but seriously, I checked a few cuts, and I think it's a nice album.



Enjoy the music.

Since Previn goes back and forth between classical and jazz, I can't account for his classical music, although I assume it's as good as his jazz. He was one of the early jazz musicians I acquired, and those records were excellent.

The music on Classic American Songbook is excellent. I don't think, if I like it, that's good enough for me. I like "American Classic Songbook", and I've always considered that music "jazz", although it can also be considered pop.

In regard to the evolution of jazz, or a general musical question, I'm sure others can answer those questions better than me.



Enjoy the music.

I was perusing through an old "Stereophile" for music reviews when I ran across this:

"Moanin" was a swinging 1958 session featuring Lee Morgan and Benny Golson who put his mark on the band by composing three long time standards for it's book- the title track "Along Came Betty" and "Blues March". They go on to speak of how good the rest of the musicians are, except "Bobby Timmons" , quote: "It sounds as if Timmons is playing a less than stellar piano" then they go on to gush over everybody else on that album.


There ought to be a law against "Stereophile" ever writing a review on another jazz record.

First, they give "Bobby Timmons" tune "Moanin" to Benny Golson, and next they say he's playing less than stellar piano, when every time he strikes a piano key on this album, perfect jazz come out. It's for sure there are no "jazz aficionado's" at "Stereophile"



Enjoy the music.

Rok, I have "Coltrane for lovers", and none of those songs appear on other CD's; but it states Coltrane Live has duplication that appear on other CD"s. From the description, it's probably best for "musicians"; while the cuts have the same titles, the music is quite a bit different, for example 40 minutes of "My Favorite Things".

Now that you mention it, Andre Previn does not travel far, "Like Young" is a record by him that I liked, it came out in 59, when "hippies" were "Beatniks", also check "My Fair Lady"; most of his stuff was West Coast".

Old Stereophiles are excellent for starting a fire in the fire place, or the Bar B Q pit.


Enjoy the music.

Frogman, Although I've heard a lot of jazz where the piano was less than perfect (good equipment reveals that) I interpreted "playing less than a stellar piano" as a judgement call in regard to Timmons  playing and that's where "Stereophile" has often fallen short.

I don't know what's required to "hear" jazz, but they ain't got it.  While I don't know music, I know good jazz when I hear it, and Bobby Timmons hit jazz licks as good as any I've ever heard.  All things are judged through the prism of time, and the masses of those who are qualified to judge, and Stereophile has consistently struck out when it comes to jazz; they didn't even know who wrote "Moanin"; that spoke volumes for their qualifications.



Enjoy the music.

"Long tall Marcia Ball"; that's what they call her down there in the swampland, and I call her music "Gator Boogie". She doesn't play the kind of music you expect to read about on a jazz thread, but occasionally I deviate.

Marcia is influenced by the Gumbo Grooves of Dr. John, and the rhumba-boogie licks of Professor Longhair. When you add it altogether you got Louisiana "Honky Tonk". Let's check her out;


      https://www.youtube.com/watch?v=H240ErU_dtM


Do you think I gave a good description of her music?

Here's "Sparkle Paradise"



              https://www.youtube.com/watch?v=QBRruP-_CYE


Marcia really has a good time.


Learsfool, why don't you hip us to some cool Classical music.





Enjoy the music.

Frogman, This is the September 97, issue; Wes Phillips is the reviewer, and the context is in regard to the music, not the instrument.

On my first post, that paragraph is from the magazine; they gave "Moanin" to Benny Golson.

Preceding this sentence, they spoke of Morgan's rich tone. "It sounds as though Timmons is playing a less than stellar piano, but the power of Blakey's drums, which drive the show, is especially well rendered- with lots of room sound and natural decay."

Since he spoke of "Morgan's rich tone", before "stellar piano" and the power of Blakey's drums, after "stellar piano". We clearly have the musicians performance before and after "stellar piano"; therefore it's impossible for me to assume that's in reference to an out of tune piano, although it's possible.



Enjoy the music.

Maybe if he had a"stellar" piano, the tune would not have turned out nearly as good. This music conveys the thought, and emotions behind the music better than any I've ever heard. Without the words, Bobby Timmons music tells a complete story; maybe a stellar piano would not have communicated the helplessness as well.

Frogman;

This debate boils down to one Letter of the alphabet in one sentence, not Wes Phillip's life history, and Rok spelled that out. This is the same as the last debate that revolved around 1 individual who did not practice for 1 summer when he was performing three times a week.

Serena Williams lost an early round match in Australia after coming off an illness that prevented her from playing in tournaments. When asked about that loss, she said she practiced hard and prepared for the match, but that's not the same as tournament competition. The only thing that can prepare you for that, is playing matches.

My friend was playing his instrument before he started school, similar to Mary Lou Williams; performing in front of a live audience is what he needed, not practice. Just as Serena Williams could only get tournament tough by competing in tournaments, he needed the live audience; that was his competition play, especially since this was new music. You and Learsfool took what I said, to mean that I said no jazz musician need ever practice.

What I said in regard to making a fire in the fire place was in jest, how else could I have had a September 97, magazine in my possession. Since I have many more before and after that date; evidently I consider the magazine worthy of better things than starting fires.

Have you ever heard the expression of "Making a mountain out of a molehill"?

I was trying to find something about the time I saw Dave Brubeck at "Our Lady Of The Snows" shrine, and I got lucky, here it is.


      http://livemusicstl.com/a-concert-pitch-episode-10-dave-brubeck/




I even found where we discussed it on Audiogon, and here it is. Have a good time reading your wise comments.



    https://forum.audiogon.com/discussions/dave-brubeck-2




Enjoy the music

Frogman; I reported what I knew about, and I only knew about his practice habits for that one Summer. If I said he never practiced, I was reporting what I saw.

Brubeck: I still have this memory of him coming up that long winding road to the top of the hill where the shrine amphitheater is, in a long limousine (is there any other kind). He was a distinguished looking gentleman with white hair, as opposed to the pictures I'm accustomed to seeing on albums (much younger)

I don't recall any other musicians, just him on solo piano. Since the troupe of modern dancers, danced to the music, it certainly wasn't the jazz we're familiar with, or maybe it wasn't even jazz; Mr. Brubeck has a wide repertoire.

Paul Desmond: A disc jockey who came on at midnight, used Desmond's "Desmond Blue" for his intro tune, and I was cruisin with my girl at about that time; consequently, even today, I love "Desmond Blue", I even love the album cover; Paul Desmond has the most romantic tone of all the saxes.



            https://www.youtube.com/watch?v=FT5zGYaUN_Q



I will in the future make every effort to prevent misinterpretation.




Enjoy the music.

Learsfool, that was my attempt at humor. I've never heard of cool classical music. I really meant any classical music you like.

Since I have jazz by Andre Previn, I tried to find some classical music by him, but this is all I found.

                          https://www.youtube.com/watch?v=CwEuR2TtW5c

Maybe you could find some classical music by him and paste it so we can hear it. Or any classical you like best.




Enjoy the music.


                 

I want to thank you Alex for a very important story. I'll get back to you after I've had a chance to read and digest it.


Enjoy the music.

Frogman, that's the first "Nature Boy" I heard, and I've been in love with the tune every since.

That guy on the subway knows it's about whatever works.

Enjoy the music.

Frogman, that guy on the subway "gravely voice" probably a wino and heavy smoker. He made me think about a guy I knew who was a St. Louis celebrity for a few minutes; he could really cook on the organ, and packed the house wherever he played, but he couldn't stay away from the wine bottle. You know the rest.

My stories are beginning to tie together; he's the same guy who learned music by watching my best friend's brother practice for gaining admission to Julliard. He could play on the piano, every thing he heard that brother had practiced.

Friends brother got a degree, and was very successful teaching music, but never played as a musician. The guy who watched him practice was a successful musician until he became a wino; life is weird ain't it.


Enjoy the music.

Frogman, I never said it was classical, I would have to be a MOWRON to think that was classical music.  I stated this was all I could find by Previn , and I asked Learsfool to find some classical music.

That was considered "west coast jazz" in 58, with a 'beatnik' theme.  Do you remember them?  'Like Young' was not considered bland at that time, and I still like it.  Your last sentence emphatically states that I am a MOWRON.

You're probably too young to remember when that was red hot on the west coast.

Alex, I have Mosaic MR4-106, The Complete Blue Note Tina Brooks Quintets, it consists of 4 LP's and two booklets. Although there are many good cuts, my favorites are "Star Eyes" and "Stranger In Paradise"; Tina captures the beauty in these tunes far better than most versions I've heard, and considering all the versions of these tunes I've heard; that's saying a lot.

I see that it's not a coincident that Blue Note had all the junkey musicians, and that story tells why. "The better to exploit you my dear". It's like finding a man in the gutter, pouring gasoline over him and striking a match.




Enjoy the music.

Frogman,  There are things in that story consistent with other musicians; like music not being released until their "dead", they seem to prefer "junkys" who they could pay a flat "peanut" sum for a record, and not pay royalties.  For some reason or another, I didn't know about Grant Greens best work, which were his early Blue Note recordings.  That might have been my fault, but I don't have an answer.

For a fact I know about them paying someone a flat fee.  Of course that was his fault, but that's the way they liked to do business; with people who are easily taken advantage of; oh I forgot "That's Business".

Miles Davis should have held a business clinic, they rarely screwed him.  Did he ever record for Blue Note?  Miles wasn't a junky for that long, he was one of those able to quit.

Rok, I knew you would take that attitude, after all BN, did nothing illegal. But now almost every business is a predator, and you're the prey. Those laws on the books that protected you, are no longer there; that's because "We Don't need no stinking regulations", they ruin business.

No, I'm not getting on my soap box today, since we all have PC's, if you want to know what's going on, you can find out just like I did. Once upon a time you could get legal help when you got screwed by big business, but now all you can do is reach for a crying towel.

One story that circulated on Agon was that Grant Green would come to Blue Note with his 'substandard' junky music wanting them to record it. Grant Green didn't make substandard music even before he became a professional, and was just playing for the joy of playing and being heard.

I let the  circulater know what I thought about him. He might just crawl out from under his rock and be heard since he knows I'm talking about him.

Being a musician does not make you do drugs, nor does being a human being, but I would never try to take advantage of a person who's as low as he can go.

Maybe society will change it's attitude about drugs now that it's not just "jazz" musicians.


                https://www.youtube.com/watch?v=-TgqWbfga7o


After looking at that, what's your attitude now.

Rok on Rok, tell it like is, "Mama's little baby like diamonds, Mama's little baby like gold", yall can keep that shortnin bread (whatever that is)

Damn near all the Blue Note jazz musicians were junkys, was that a coincident. What did Blue Note do to help them. Those musicians have to show up for a lot of club dates. Blue Note didn't care about them not showing up for jobs, but they only have to show up at the recording studio every now and then.

Albums made in 65, are still selling today, and if Blue Note paid a flat price, nobody but Blue Note is making money off those albums. An addict would sell his mother to get a fix. No matter how immoral and rotten that sounds, that's the way it was, and Blue Note knew it. Now we have a heroin epidemic, and those pretty little girls in the suburbs, who should be in college, might be out hustling to get a fix. What do you think about that? I bet you can't give an answer, and if you do, it will be much different than whatever answer you gave in regard to Tina Brooks being an addict.

With all those boss albums Grant Green had out, why did he have to leave his hospital bed to make a gig? The doctor told him it would kill him, and it did. I don't even know if he still had a habit at that time, I doubt it.

When I saw an addict with the incredible talent of a jazz musician, it tore my heart out, and I did what I could to help them, Blue Note saw money on the hoof, (I mean foot) when they saw what I saw.

There is absolutely no doubt that Blue Note had the most talented jazz musicians. That kind of talent is very rare; it's only when you see them live, no rehearsal, no written music, and they perform like you would not believe. Maybe nobody believes what I wrote and said I saw, but that's OK; let's call him "Harvey". To get a little more specific, let's call him Blue Note Harvey.

Since I have seen an addict who I couldn't help, these people are not statistics, they are people who need help, and it's too late to get sanctimonious.


          https://www.youtube.com/watch?v=M-uYsuSKe4g


If you want to know where it comes from, check heroin and Afghanistan.



 

This is "Like Young" sung by Linda Lawson; it's real hip.



        https://www.youtube.com/watch?v=CA81pRYtEXc

Enjoy the music.

I liked "John Adams Road movies," the second one was OK, might have sounded better if I was in a different mood. On the last one I couldn't get past the ladies screeching voice. This post is an indication of how much culture I got.


Enjoy the music.

Learsfool, this is the classical Andre Previn; could you give a critique?


    https://www.youtube.com/watch?v=fvU5OGdVFNc


Enjoy the music.

Frogman, I'm still waiting for a response on my post dated 03-20-16 12:05 AM, and don't forget the link, it's most important. Thank you.


Enjoy the music.

Frogman, you still have not responded to my post that appears between your post to Alex, and your post to Toudou. You'll need time to consider the link, I understand that.

Thank you.

Frogman, if you want to evade, or avoid that post, we can just move on to the next thing.

Frogman, I forgive you for not responding to that link; people like me who know what's going on, and let it be known that they know, pay a very high price.

Since I'm already in the spotlight it doesn't matter, but it's better not to be in the spotlight.



Enjoy the music.

Since Frogman would rather not respond to that post, I'm going to move on in the same theme "musically".

Does anyone remember the movie "Superfly"; although the color has changed, that's what's going on today.


      https://www.youtube.com/watch?v=-cmo6MRYf5g



      https://www.youtube.com/watch?v=0B6TKClPFQA


   

      https://www.youtube.com/watch?v=hCDAfa-NI-M




Enjoy the music.

Rok, it seems no one is going to respond to the link on post dated 3-20-2016; that was 12 hours ago.

Superfly: "Freddie's dead"; juxtapose that with the link on the post dated 3-20-2016.

Superfly: "Pusherman"; juxtapose that with the link on the post dated 3-20-2016.



Enjoy the music.

Ok Frogman, and Rok; we're going to move on, that's fine with me, I have no problem avoiding reality.

I bought that LP Sahara when it came out. It took Tyner and Trane to make the Coltrane sound; consequently, when you hear Tyner, you also hear Trane in your mind.

I like "Inner Voices" also.





          https://www.youtube.com/watch?v=hDMnSIedk-c&list=PL4T6xBFLnigsWD2gl9UPfjUx1zOWosIWZ


Enjoy the music.

Rok, I'm not trying to make any kind of point, just observations. There is something drastically wrong, and no one is providing any real answers as to WHY?

Once upon a time, we had sociologists, they went to college, and studied to give us answers for these types of events. I remember when we had "sociologists", they were replaced with "Law and Order", "Lock em up and throw away the key". Do you remember that?

I have a question, why is heroin so cheap? In the past, we have looked at everything through the prism of 'race', apparently that's not a good idea, but this is a music forum, so I'll get back to the music.

Acman, and others have accused us of being locked in a time warp, perhaps this is true, but there's absolutely nothing wrong with discussing musicians of the 60's.

I'm going to find some current music for us to discuss, Frogman said, like, and don't like is not sufficient in regard to responses to music. Since I'm not a musician, I can't give responses that a musician would give, but I'll do better than "Yes and no".

Since I heard the name "Snarky Puppy", this is the best I can do.

        https://www.youtube.com/watch?v=lflkj9CRTe0&list=PLqtUSqMDbdx7iJllRgw6ZNMv27Zs92ftl


Enjoy the music.

Acman, These are highly trained musicians; some of whom may have gone to Juilliard. Whether or not they are playing jazz is not Germane, due to the evolution of music from the time when jazz was definitive till now, but I liked it.

The bottom line question is whether or not an individual will buy this music, and my answer is, "not at the moment", but that could change.


Enjoy the music.

 Hallelujah! I feel like a been born again, I can feel the spirit. I don't know when, if ever, I heard such soulful singing.


Enjoy the music.

Rok,  I've never been in a baptist church and not seen pictures of Jesus Christ.

Enjoy the music.

Aretha is a professional who was raised in the church, not exactly a fair comparison.

Rok, what albums do you have with Tina Brooks as a side man?

Alex, "For Green as for Brooks, the suppression of income and reputation brought on spiraling misfortunes and reduced him to beggary." This is according to Jack Chambers's WHO KILLED TINA BROOKS?

Many of Grant's recordings were not released during his lifetime. These include McCoy Tyner and Elvin Jones (also part of the Solid group) performing on Matador (also recorded in 1964), and several albums with pianist Sonny Clark. In 1966 Grant left Blue Note and recorded for several other labels, including Verve. From 1967 to 1969 Grant was, for the most part, inactive due to personal problems and the effects of heroin addiction. In 1969 Grant returned with a new funk-influenced band. His recordings from this period include the commercially successful Green is Beautiful and the soundtrack to the film The Final Comedown.

Grant spent much of 1978 in hospital and, against the advice of doctors, went back on the road to earn some money. While in New York to play an engagement at George Benson's Breezin' Lounge, Grant collapsed in his car of a heart attack in New York City on January 31, 1979. He was buried in Greenwood Cemetery in his hometown of St. Louis, Missouri, and was survived by six children. Since Green's demise, his reputation has grown and many compilations of both his earlier (post-bop/straight ahead and soul jazz) and later (funkier/dancefloor jazz) periods, exist.



Enjoy the music.

Frogman, it was over yesterday, but you brought it back up again today, if, woulda, coulda, shoulda, but it's too late for that, now they are drug addicts.
My question is "Do we lock them up, and throw away the key", or what?