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About danasgoodstuff

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  1. Whither Allen Lowe?

    Love to you and yours Allen.
  2. Jackie McLean's Monuments

    Jackie McLean was a tremendous groove player, if allowed to do that on his own terms: Jackie McLean - Hipnosis - YouTube or the this alt. take of Right Now! Right Now (Alternate Take) - YouTube
  3. False dichotomy, really basic logical fallacy. And that's just the start. And a distraction from whatever it is he's trying to say about why he dislikes (some?) rap.
  4. Vanguard R&B / Jazz intersection

    I found this utterly unconvincing in its post-modernism, and I like at least some of Don's stuff. There are many different ways do this thing, if it is a thing - I guess it's no more or less a thing than most things, if you get my drift. So, submitted for your considerations as related things, if not exactly the same thing: Billy Larkin & the Delegates - no high art concepts, just kinda jazz renditions of then current hits Bennie Wallace - Twilight Time, populist but arty, Platters tittle tune, SRV & Doctor John Enrico Rava - On the Dance Floor, recent-ish big band modernist or post- tribute to Michael Jackson Archie Shepp - Mama Too Tight, I think the original post was referencing later work, but I love this which sounds a lot like JB's Money Won't Change You to me P. Sanders & Ed Kelly - You Send Me, just lovely Maceo Parker - Roots Revisited, getting to a similar place from the other side Sonny Rollins - much of his work in the '70s & '80s, especially on Tattoo You David Murray - Shakill's Warrior with Don Pullen on organ, Pullen's also on the Maceo mentioned above Scofield's Country For Old Men, reclaiming populism from the reactionaries, 'blues of a different color'. Clifford Jordan's Leadbelly tribute, These are my Roots, as basic and as weird as he wanted to be If this even is a thing, I don't see it as a fundamentally different thing than Soul Jazz, just an unorthodox parallel or fringe thing.
  5. Your Early Parameters for Buying or Avoiding Certain Jazz Albums

    I tended to gravitate to smaller bands when I started buying jazz in the early '70s. I'd heard Goodman and Ellington growing up, and liked them fine, and even saw Ellington. But part of the evolution as a more serious rock listener was to see the trees as well as the forest and I found that so much easier with smaller bands. There were no hard 'n fast rules - I was a sketches fan early on for instance. And as a blues/soul/R&B fan I had no aversion to horns, and bought a somewhat random variety of instrumentations. But was basically a 4/5/6 players guy when I started buying jazz. Economy of means, no more than what you need, was important to me and still is - you can use as many voices as you need, but they all need to be doing something necessary, no padding. When I bought swing era stuff, which wasn't real often, it was stuff like the Goodman sextets. And the few really large ensemble things tended to be ways of framing a soloist, like Miles with Gil or Gato Chpt.3. I still am not a huge big band guy, mid-sized is where it's at to me, 6-10 is enough for more texture, counterpoint, whathaveyou, but every voice making a difference. It wasn't well planned, and if it followed my developing interests as much as time & money allowed, it lead to some pretty big gaps = not that I should have had x, but I might have enjoyed it and eventually did. I played a bit in a student led stage band in college, but was still struggling with the rudiments of playing my instrument and never developed into a connoisseur of the fine art of section playing. What I played in that band had little intersection with my listening at all, other than my undying love of Night Train.
  6. “Live at the Plugged Nickel” — just *not* Miles Davis

    Hey, but he's the hippest cat who is what at! Hardly the most unlikely tune they ever played, nor the worst performance.
  7. “Live at the Plugged Nickel” — just *not* Miles Davis

    Albert Ayler recorded there too, anyone else?
  8. Not everyone wants to go down swinging.
  9. That's my experience too, interestingly betwixt and between.
  10. “Live at the Plugged Nickel” — just *not* Miles Davis

    There's another 2 LPs worth or more listed in the discographies, but apparently it's gone missing and may well never come to light. Crying shame that. I love Alfred and Francis, but the choices they made then are not necessarily the ones that I'd make now. How long was Minton's a going venue?
  11. “Live at the Plugged Nickel” — just *not* Miles Davis

    I think there was more Lock & Griff from Minton's, about 4 LPs worth total IIRC, but it was packaged and repackaged in confusing ways and I can't quite get all the details straight without looking them up. but fine performances by a great band and very much deserving of further recognition IMHO.
  12. “Live at the Plugged Nickel” — just *not* Miles Davis

    No, NOT Lonnie LISTON Smith, the other Lonnie Smith. Grant Green recorded Alive! at the Cliché Lounge (literally, as well as figuratively). Don't know if anyone else made a live album there. If not, then I guess recording there would not be a cliché. Just to be clear, I like clichés. It's up to the user to do something imaginative with them.
  13. Just skimmed it, but it's nice to see the love and a reasonable level of understanding.
  14. I agree that the format fits ST well. My fondness for R&T may well be a combo of having heard it first and because Grant Green is on it. At Least 2, maybe 3 solid albums could've been made from the initially unissued sessions, but I have to wonder what their reception would've been. but then what they did issue seems weird to me too, both mostly not a good fit for the times and more than a little all over the place with the 2 heavily orchestrated dates (Look of Love & Always Something There) follow by an organ date with Idris (Common touch) and then a very straight ahead date (Another Story), with a non-album single too. Hard to say what they were thinking re a marketing strategy, just throwing it at the wall or several different strategies competing? The thing I wish they had done would be an all spirituals albums, maybe with varying accompaniment.. (4) Bayou (2005 Digital Remaster) - YouTube this link has most of what we're talking about here, if not all.