Stereojack

I love this record too. Yes, they have mellowed over the years, but there is some profoundly beautiful music on this album. I'm glad RDK asked about the tenor players - I can't tell them apart either, although I liked all of the tenor work.

Much of the pre-air promo made it clear that this was to focus on the career up to 1966. I guess for those who didn't see any of that, they might have expected more. The fact that it focussed entirely on the years during which his greatest work was done (my opinion, but I'm not alone) is what drew me to watch it. Scorsese's involvement seems to have been to gather together all of the footage, and also to lend his name to the project, which certainly raised its profile.

My reaction exactly - WTF?????

As somebody who was a big Dylan fan back then, I was at the time repulsed by his arrogance, but also fascinated. I'm not so sure, and we may never know, what Dylan was like off-camera. "Don't Look Back" and some of the candid footage from the electric tour show a man that's under a lot of stress, and as the film demonstrates, needing to take some time off. And let's face it, most of the interviewers were completely clueless, and Bob didn't cut them any slack. I assume that the excerpts that ended up in "Don't Look Back" and elsewhere were the parts that the filmmakers thought were the most amusing. Bob does appear flippant, but how would any intelligent high profile person respond to such idiocy?

Where was it said, or been written, that Dylan broke off contact with his family? His personal life has always been well guarded, and that includes his wife and his children. All of this speculation just feeds the man of mystery myth that he and the press cultivated so well.

Interesting to me 'cause Vincent was the first "live" act I ever saw (Val-Air Ballroom, Des Moines sometime in the '50s) and the last "big" pop/rock concert I attended was Dylan and The Band in the Boston Garden circa 1973. ← "Gene Vincent At Town Hall Party" (Bear Family) is a nice DVD of several Vincent shows from 1958-59. Don't know if the clip in the Dylan film is from it. I saw Dylan just this past April at the Orpheum in Boston - pretty sad (my spouse loves him). Opening act Merle Haggard was really good, however.

Also, I was impressed that they didn't talk to a single critic or music writer. All of the talking heads were Dylan's contemporaries (or elders), so there was no analytical bullshit about his "significance".

Very amazed at how much vintage footage of good quality they came up with! Really interesting how matter-of-fact Dylan's comments were, considering his long time image as a man of mystery.

Art Tatum - God Is In the House Charlie Christian - I believe that there are several CD releases of this material.

The price is ridiculous, so I doubt he'll get any takers, especially since the material has been around for years in general circulation, recently issued on CD.

Another one I like a lot is by Jim Cullum's Jazz Band (Columbia) - they give the score a dixieland interpretation, and it works quite well. Of course, the Ella/Louis and the Miles/Gil are tops in my book. Who is that professor/historian?

This is the best I can come up with: My heart's on fire, but my love is icy cold, My heart's on fire, but my love is icy cold, Well, I'm goin' right to his face and get him told. I'll fix him if it's twenty years from now, I'll fix him if it's twenty years from now, I'll have him bellyin' (bellowing) just like a cow.

Don't believe any of the following have been mentioned: Buddy DeFranco Sam Noto Buddy Childers Charlie Mariano (above 3 with Kenton band) Lawrence Marable Dick Hyman (on film with Bird)

Ruppli agrees with the discographies, the first title is shown as Good King Daddy. Had this LP years ago, but didn't keep it. As fine as the Bluesville series is, I thought this one was a dog!

NO!!!! Not the JSO set!!! That one SUCKS!!!! (We said the JSP set.) ← ← Look down at your feet. Hear that rustling sound? That's the sound of your leg being pulled.

There is another Suzuki - D. T. Suzuki, a famous writer on Zen. Evans no doubt had read him. Having read the whole article, I find it typical of jazz writing that appears in publications other than those devoted to music. Flowery, littered with fancy images and clever literary turns-of-phrase. This is a fan's celebration of a classic recording. The excerpt that everyone is reacting to is, to my observation, so obtuse as to have little or no meaning, and I find myself wondering (even after reading his many comments) just what in it that JSngry found so objectionable. Yes, this is a classic recording, but it is just one of many. I can't see where Charlie Parker or Bud Powell comes into it. Writers like to write, and sometimes they can get just a little caught up in their own cleverness. As for emotion, remember that we bring emotion to the music. Musicians, regardless of what they may say they do, are just stringing notes together. The ones that are able to do it in imaginative and interesting ways are the ones that we celebrate, because of the emotions that they bring out in us, the listeners. Evans definiely stirs me up emotionally, but so do Coleman Hawkins, Lester Young, Merle Haggard and B. B. King.

There have been a number of previous releases (Circle, Riverside, Swaggie, Rounder) but none of them has been complete. This is claimed to contain EVERYTHING.

OK, I'm in. PM sent.

I don't have the CD, but I can tell you what's on the LP's. "Sock" (7400) contains a tune entitled "Scam" (comp. Ammons) rec. 4/13/62 "Soul Summit Vol. 2" (7275) contains a tune entitled "Scram" (comp. McDuff) rec. 12/1/61. Don't know if this answers your question!

Yes, I've surfed past this ass! Never caught his name before. Don Lapre is not merely a blast from the past. I swear I've seen him within the last couple of days. Pure slime! What amazes me is that these guys are obviously making money. Kevin Trudeau has been so ubiquitous in the last decade, that I have trouble believing that there are any suckers left. That's my problem, I keep forgetting the vastness of human stupidity.

I gotta vote for "The Aladdin Sessions" as a nice introduction for the modern jazz fan, but sooner or later you're gonna love it all like I do!

I agree - Strozier is important enough, and sparsely represented on record, that everything is worth checking out, but the two Steeplechase albums are less interesting to these ears than the earlier sides. The long version of "What's Goin' On" is expendable.

I think both sets have a lot to recommend them. There is so much great music here. I wonder if Helen Keane's comments related more to the fact that "Consecration" was unauthorized, not whether Bill or anyone else didn't like his performance, which is spectacular, in my opinion.

Jeez, small world, isn't it?

On first listen, in the car, I recognized Harold Land right away, and figured that given the bass theme, this was probably from the Mitchell-Land album. A few days later, writing my comments, I couldn't remember which track that was, and wrongly attributed #9, when it should've been #11! #9 has got the tenor & bass stating the theme, which made sense for this band, although the tenor on #11 is clearly Harold Land, now that I'm awake. Now I have no idea who #9 is. Redfaced... And not getting Brownie!!! At least I recognized that it was a good trumpet player (understatement).