danasgoodstuff

I'd say that the extra-musical (or, for lack of a better word, social) connotations of are a song are just another aspect that a musician can play with and that choosing to ignore them, esp'ly where they are particularly strong, is one way of playing with the audience's expectations just like Monk setting up rhythmic expectations then sidestepping them...I agree that Burt/Hal/dione are soulful in their way, prissy perfectionism is the soul of who they are, as is the hurt that comes through regardless, but not as soulful to me as Aretha or, for that matter, Lefty F., Willie or Merle.

Live at the Cafe halfnote w/D. Byrd The Cooker by Lee Morgan co-leader date on OJC w/Thad Jones that I forget the name of... no organ dates that I can think of, but that's what Ronnie Cuber's for...

ep1, Yes, I did mean that New Grass is "kind of a mess", not Love Cry, good catch.

I don't think Ayler is particularly about important records, the consesus of those who heard him live seems to be that none of them fully capture the power of his playing. If I had $100 to spend I'd get the box ($100+ full retail, 30% at Borders w/coupon or ? = $70+) and either Bells or Spiritual Unity and Music is the Healing Force and then see... I much prefer the live trio stuff from '64 to Spiritual Unity, I think it's better recorded and performed. But the thing with Ayler is that at pretty much every juncture, whether it's standards with clueless rhythm sections, trios w/Murray, 4tets w/ Cherry, the strings bands with Donald, live in Franch at the end, or whatever, there's an alternate version that's six of one/half a dozen of the other. Or pretty close... Oh, almost forgot, the Spirituals date (available under multiple titles, as is much of his stuff) is beautiful and important for understanding where Albert was coming from, although it would serve that function better if it was reissued with the originals cut at the same date (Witches & Devils, right? Or am I confused...is there anywhere online that straightens out all the confusion surrounding Ayler's album and song titles?) Whatever you decide, enjoy!

No, I actually meant a lower case #, i.e. 3..., oops!

So I bought the Dec db 'cause it had the readers pole and an article on Sun Ra and one on recent AACM doing (gotta love how Chicago centered they are). But then I read the condescending POS they printed to commemorate JOS being voted into the hall of fame. Hard to believe that anti-organ bias still exists, but since it's basically a subspecies of class prejudice, why wouldn't it? Have any of our resident B# players seen this and care to chime in?

This whole thread is kinda like saying 'Wow, there are things that are blue but round, or even fuzzy'...or, more literally, things can have sappy words but strong/interesting melodies and/or chord changes...why would that be surprising? It does show how far the dominant paradigm has moved away from Hot Lips Page's dictum that 'the material isimmaterial' when even posters here confound songs in the abstract with particular recordings of same

Hey, just as long as we're not oogling Mike Love....

Also, recording with Pretty Purdie isn't really "going back" to Little Walter, two rather different examples of 'R&B'...

the similarity with Electric Mud is that in both cases there was plenty of talent in the room it was just misapplied, largely do to incapatable wave lenght issues....so, if Love Cry is Albert's Electric Mud, are those last live things from France his Fathers & Sons, more successful but less interesting?

I think "Bye Bye Blackbird" is pretty much a POS as written and/or performed 'straight' but I love what Miles did with it. Ditto for David Crosby's "Guinevere" and what Miles did with/to that.

How many for "mike Love" and "jerk"? Wouldn't It Be Nice, Dana

As for the Canadian college game in S'toon, my mom said it was so cold that reporters from other parts of canada said they were never coming back!

Albert wanted to be heard, no doubt. His music was a great gift given to a largely indifferent or outright hostile world. Better minds have been torn apart by less. That old time religion just shaped the form his resultant craziness took, it's content could just as well have been expressed in purely secular terms. If you look at what's on the Love Cry CD now as opposed to what was issued then, and extrapolate...it coulda been a contender both for art and commerce (I love Graves on this and the harpsicord is a nice period touch just a little late, the neo-baroque moment in pop had passed). Love Cry is kin of a mess, and I don't think the session stuff on the box is any more than interesting. but the last two have plenty of strong material from which a great album could've been edited. Interestingly enough I find Henry Vestine to be more on Aylers wavelenght than Bernard Purdie, although none of the players here or in the last concerts were up to the standards set by Sonny Murray or Don Cherry. I found the movie less depressing than I thought I might, but then I knew how it would end going in...having lost my own brother years ago my heart goes out to Donald. As for Mary, guys who need a new mommy usually find them eventually.

20% off - 2 Small Faces imports 30% off - Linnie Tristano/Warne Marsh on Capital (Intuition?) I passed on some Jazz Crusaders live and Donald Byrd BN's at 40%, had too much in my hands and couldn't decide...went back this week and there wasn't much left here in Ptld, OR 50% off - Andrew Hill, Time Lines Wille Nelson, Cindy Walker tribute They are all things I was thinking about getting anyways, will definitely listen to and my wife might even be interested in some of 'em too. I'm very proud of myself that I didn't buy a bunch of stuff just 'cause it was X% off.

Never said London Calling was "the greatest" anything. For what it's worth I don't particularly think of it as "punk", whatever that means. And if I wasn't much inclined to check any of your favs out before, I'm certainly not more inclined to do so now Clem. Historicism, whatever that means, may be a valid argument re Charlie Parker but... More of an intellectual (in the good sense, you can have the bad) than you ever thought of being, Dana

I won't say he stunk...but there must be something I'm not getting, but then Idon't reallycare one way or the other about film the way I do about music.

Great album, not merely good or even very good, unfortunately the fact that it's by the same guy who did Saxophone Collosus somehow keeps many people from hearing how great it is.

You're right...I have never heard most of theshit being 'discussed' herein, and this thread doesn't make me want to...I did think London Calling was great when it was new, but I was already gettin' old then. Most overrated, Never Mind, theBullocks which has always sounded like session guys trying to play poorly, which would make the Sex Pistols the Monkees of their time.

Yes 3/31/51 w/ Bird, Bud, Diz, Haynes 'n what'shisname is absolutely the shit. The only prab with saying that x,y & z recordings from back in the day sound like real live music is that real live musicis not what most contemporary listeners want from recordings, they want it to sound the way that the're used to recordings sounding, all compressed and filtered and they'll mimic that sound even in a capella man on the street performances... Weird shit, but there it is.

I'm not so sure this is gonna take a long time selling out, remember that many retailers/dealers will also buy it on spec...so since I missed the Rhino Hand Made expanded versions of Buddy & Jr. Play the Blues and PBBB LIve I, for one, will not procrastinate on this one.

Love Bird, own lots (studio and live, but no solos only records), sound quality NOT an issue for me - I listen to Son House on Paramont fer fuck sakes so Bird's studio stuff is sparkling Hi Fi, relatively speaking. And I totally agree that Bird is as deep as the ocean, albeit on a more emotional level since I can just barely play the saxophone...BUT I don't listen all that often 'cause listening, really listening or even anything close, is about as daunting as trying to swin the ocean, takes real focus and is kinda exhausting, on some levels I find Ayler easier, but I do know it's all there anytime I'm up to making the effort.

No doubt that would be a treasure. I still remember reading a fan magazine around the time of Revolver that had a picture of the Beatles with a copy of Aftermath and a caption to the effect of coming up with some original ideas. still not sure which way that irony was supposed to cut...

I saw a bit of this shit on SNL last week. To me it was not funny at all, not even close.

How could I forget the DC5? When I was a kis I thought it was the coolest thing that they toured in their own MacDonald Dougls DC5 Airplane. My fav was "Catch Us If You Can", the rest was a nice clatterly racquet, v. 1964. Weren't they the only big Brit Invasion group with a sax player as a regular part of the band?