danasgoodstuff

I love doo-wop, as well as other group vocal stuff. Waws listening to the Belmonts acapella album just the other day, will have to check out the Moonglow's one. My little girl won't go to sleep until we sing "Goodnight Sweetheart", but then she probably thinks everyone drives a Studebaker like her dad...

Driving home from work yesterday, just coming to a stop in a long line of cars when the lady behind me apparently stomped the wrong pedal, slammed into me, bouncing me off the car in front, into the turn lane where she hit me again. Probably totalled my Studebaker (it's not worth that much) and banging me up pretty good. At least my wife and daughter weren't in the car and another Lark shouldn't be too hard to find. Still, kind of a bummer...

jamie Collum has earned my ire...but then i don't particularly like Joe Williams, or any number of others, either.

Seems to me 'the bar' is being 'raised' unrealistically, if not quite impossibly, 'high' here. And that this has dysfunctional, if not downright selfdefeating, consequences for jazz. And no I'm not particularly in love with Spaulding's playing - enjoy the BN's, was mildly disappointed in what little I've heard of his later work. Still the fact that Tyronne W. got a BNleader date and JS didn't is a little odd, maybe he shoulda done the funky thing - i've got at least one musician friend who compromised one time and refused the next (or vice versa) and got screwed both ways. Although Clem, as usual, greatly weakens his case by greatly overstating it, the Pete Brown analogy is close enuf for me - if I see their names on an album jacket it's a definite, if not huge, plus...

Years ago I listened to the above mentioned 2cd comp just to see/hear what all the fuss was about. Much like my reaction to Love, I could hear how they could have a cult following, but it was equally eay to hear why it never went beyond that...perhaps the vnearest analogy would be Buffalo springfield who also had to much talent for one band, but I much prefer BS...since I do prefer BS to csn&y, Yardbirds to Led Zep, etc. seems like I should like bands like Moby Grape and Love more, but I don't, For What It's Worth.

Isn't this the sme Jan '64 date as Spirits/Witchs & Devils (is there any discography with more confusing name issues than Aylers?)? I've long thought that is sequenced properly a full issue of this date would be quite amzing...

Glad, but not surprised, to hear that they were beter live. On record I found them v. stiff and a big step down from the MGs, JBs or Meters. Open to revising my opinion but not likely to go out of my way...

Surely the worst album title ever? Or do I just have a sic mind...?

jsngry, Not so strange, I was just having a brain glitch/wishful thinking, 'cause I'd rather hear him play "I Wish it Would Rain"...

I would have to think that "Let It Rain" is more likely the Temptations song of that name rather than Clapton's...

I'll be interested to hear this, mostly 'cause I've met Perry and think he's a heck of a nice guy...

I was working at the Electric Fetus in Mpls when the Wilburies were current and people would come in to ask for it and not be able to exactly remember the name...best garblization was "the wandering wallabies". For me, hearing Bob relaxed and funny was by far the best part...

I've always passed on Drives 'cause the one time I heard it I thought it was stiff, esp'ly compared to the v. energenic Live @ the Club Mozambique with which it shares some material. Turning Point is perhaps a little more 'thoughtful' than Think! but the're both fine.

That Lester (bangs the shit outta his typewriter) was unafraid of being "dopey" is one of his most endearing qualities, IMHO. Same could be said of both John & Paul, in their decidedly different ways. I also love Run Devil Run, so yes I do think he can still rock in a decidedly old-fashioned way, but his grammy "Helter Skelter" was at least relatively modern..on the other hand he wometimes seems intent on exploring the connection between infectious (sonething you can't get outta yer head) and infection (something that just makes you sick).

Hey, he's nowhere near the asshole that Miles could be, but then he's nowhere near the motherfucker (in a good sense) that Miles could be either.

Got it, but then I am a GG completist. Enjoyed it quite a bit, but I think I can hear why it wasn't issued initially (lack of gel and some rough edges and not quite adding up as an album). Well worth anything under $10, but probably no more...

Damn, I love both Don W's complete BN and Hank's Thinking of Home, even like some Zorn, particularly News For Lulu, but I did unload Spy vs. Spy pretty darn quickly.

King Curtis was the man on virtually all the Coasters singles, presumably "Along Came Jones" as well. What I wanta know is who was it on the Chords' "ShBoom"? It's not yer usual hard 'n heavy honking, but it sure sounds sweet to me. I'm also quite fond of Bobby Keys' work on the stones' "brown Sugar" which pretty much distills everything he learned from King curtis, et al. Also love Jr. Walker who took honking into the Soul era, "Cleo's Back" and the other pre-Motown singles esp'ly.

I think I miss Lester Bangs more than John Lennon...

I think Jazz Kat has a point, something can be a jam session standard without there being a lot of recordings. Can't think of a good jazz example but I can think of some rock 'n roll ones, e.g. "Gloria" got played at certain sorts of rock gigs just as much as "Louie Louie" but wasn't recorded as much or as big a hit. I do think it's a problem for jazz that there are (or may be) no recent standards or jazz standards (yes, I do understand and respect the dif). And yes, I am old fashioned enuff to care about tunes...

chewy, since no one else has answered, I'll give you the quick and dirty - the're partially unissued, just like the two on the new CD. Perhaps someone can post the details or you could google "bluenote discography" and find it. I was hoping for the next Turrentine to be 3 sessions, including the "Love is Blue" 45 session that is also partially unissued. Maybe I'll look it all up and repost later...haven't bought the new ST, but I will shortly 'cause I dig the stuff that has been previously issued and am a sucker for unissued BN of any sort. Dana

Looks good; given Kirkland's precense, I gotta ask 'when was it recorded'?

I hesitate to jump in, least this thread disappear too, but I gotta stick up for us oregonads(sic, v. sic) - some of us do use toliet paper...

I am certainly not going to assert that the 3 sounds don't work here, they were after all the 4 sounds with a number of different sax players before they made it and I think their working unit togetherness is part of what makes this work (and it certainly does, IMHO). So I don't waste any time imagining others, piano bass or drums, here - it is what it is, and that's v. nice. So is ST at Mintons, as well as most of his BN work, but it ain't either or.... As a 'late night' mood thing it certainly works as well as Midnight Blue, although I am generally an 'album is a variety thing' guy... 9/10?

Maybe if BN ever does a Lou D box set they could cherry pick the unissued/rejected stuff, certainly deserves it, from Monk sideman to bringing Horace and Grant to the label to booga-Lou...