The troubled production history of “The Cotton Club” is worth seeking out if you are unfamiliar. There were budget overruns, worries on the set, frustrations in the editing room and even murder. The most relevant aspect in terms of this do-over is the studio’s insistence that Coppola remove most of the material that fleshed out his African-American characters. They also insisted that this hybrid of gangster movie and musicals had too many elements of the latter which, considering that most of the musical numbers take place in the Cotton Club of the title, also meant “too much Black people stuff.” The shooting script by Coppola and 'Ironweed'writer William Kennedy supposedly balanced the stories of its two lead characters, cornet player Dixie Dwyer (Richard Gere) and hoofer Sandman Williams (Gregory Hines). The final product spent the majority of its runtime stuck in Dixie’s derivative and dreary gangster storyline. Even in its butchered state, “The Cotton Club” played like an intriguing, gorgeously shot and designed musical that kept getting rudely interrupted by a crappy mobster movie.

• Cotton Casino Discogs Official Site
• Cotton Casino Discogs -
• Cotton Casino Discogs Music

Cotton Casino Discogs Official Site

Though it does a good job of recalibrating Sandman’s story, “The Cotton Club Encore” exacerbates the musical vs. mobster schism with its additions. Coppola restores three musical numbers in their entirety and extends a few more (the visual quality changes in one so drastically that you can see where the new material was inserted). “Encore” gives us more of the tap duet between Sandman and his brother Clay (Hines’ real-life brother and dance partner, Maurice Hines) and, in a heart-cracking act of sweet charity, allows Gwen Verdon (who plays Dixie’s mother) a few more precious seconds of hoofing in the film’s fantasy-tinged final scene. '227's Jackée Harry gets a slinky comic number that steals the movie. Sandman’s wooing of beautiful singer Lila Rose (a stunning Lonette McKee) is now complemented by him singing Fats Waller’s “Tall, Tan and Terrific.” And Lila Rose croons a haunting version of Lena Horne’s and Ethel Waters’ signature song, “Stormy Weather.” Every single sonic moment Coppola returns to us is a show-stopping cause for celebration.

Cotton Casino Discogs -

D onald Weber was startled to be suddenly confronted by two men from El Paso at his girlfriend’s apartment in Chiang Mai, Thailand. Chiang Mai is a large city in the northwestern part of the country, an energetic mix of markets, shops and packed thoroughfares, a place where people can easily disappear into the anonymity of bustling urbanity. Cotton Club, legendary nightspot in the Harlem district of New York City that for years featured prominent Black entertainers who performed for white audiences. The club formed the springboard to fame for Duke Ellington, Cab Calloway, Louis Armstrong, Ethel Waters, Lena Horne, and many others. Time is the Key is the fourth album by Pierre Moerlen's Gong.It was released in late 1979. Featuring an all-instrumental jazz-driven sound, notable for the prominent use of vibraphone, it has little to do with the psychedelic space rock of Daevid Allen's Gong, even though the two bands share a common history.

Cotton Casino Discogs Music

The opening scene (and the opening credits music by John Barry) is different here as well. The film now begins with the Cotton Club’s doorman (Woody Strode) turning away a woman he believes to be “colored.” She protests, and is still turned away. It’s a short scene, but it immediately puts focus on the Cotton Club and the ironic racism contained within it: the only way a Black person could get in the place is if they were performing there. The audience was entirely and unapologetically White. The club’s owner Owney Madden (Bob Hoskins) aims to keep it that way, but like Coppola, he has an eye for musical talent and basks in watching his musicians ply their trade.