John L

Don't let it bother you, Chuck. All Music is really something that you can be proud of.

I notice that Amazon is going to be offering downloads of The Complete Braxton for $8 beginning on May 10. http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Ddigital-music&field-keywords=the+complete+braxton&x=0&y=0 The series is advertised as being from "The Black Lion Vault." I wonder what other goodies will be offered?

Those Braxtons are really top shelf. It is great that they will be back in print. the Albert Ayler will be new to Hatology. The only Ayler concerts released previously on the label are Lorrach and Paris (on one CD). I assume that the Berlin concert will be the one on the Holy Ghost box (Nov. 3, 1966) and the Stockholm concert will be from Nov. 10. Three tracks from that latter concert have been circulating.

Guess I missed this...details, please! It was easy to miss, and I am not sure about the current availability of the CDs. The motherload was on seven Acrobat CDs entitled "Texas Gospel," Volumes 1-7. I guess that they called it Texas Gospel because Peacock was based in Houston, but it was a strange choice of title as the majority of artists were not Texas based. The title also disguised the fact that it was a comprehensive Peacock label reissue. These CDs contain all of the Peacock gospel singles that were not released on other Acrobat CDs (Early Blind Boys of Mississippi and the Bells of Joy). The first two volumes came out on single CDs and appear to still be available at Acrobat. Volumes 3,4, & 5 came out on a 3-disc set, and volumes 6 & 7 are on a 2-disc set. If you have trouble finding the CDs, downloads can probably still be located. My calling this doing "justice to the Peacock label" is a bit of an exaggeration, as there are still a lot of album-only tracks that remain to be reissued. But Acrobat still did a great service in giving us the singles. I had all but given up hope of a CD reissue of this music.

Yes, Malaco has the rights to some or even all of the catalog. But they do not have anything close to a comprehensive reissue policy for it.

Now that Acrobat has done justice to the Peacock label, Savoy remains the only major gospel label for which the majority of the music never made it to CD.

I downloaded them from Amazon and I heard them... ...and I still don't know if it's Coltrane. You can almost tell that it's him on Laura.

She put out two very nice albums with good original songs. Then what happened? I was expecting more.

OK - I'm sorry. I was looking at the wrong tracks.

Here ya go: http://www.amazon.com/Impulse-50-First-Taylor-Collection/dp/B004VRIEYM/ref=sr_1_1_digr?s=music&ie=UTF8&qid=1303388384&sr=1-1 But look at the track timings of those last three tracks in the set! It looks like at the moment, you can buy some of the mp3s separately (http://www.amazon.com/gp/product/B0042KZJ4Q?ie=UTF8&tag=vermusgro-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=B0042KZJ4Q) and these last 3 are currently available as stand-alones, so that would be the route I would go (and I might download them but am not exactly chomping at the bit). Probably better to do this sooner than later in case they change it around. It looks like somebody up there may have read your post. In a matter of minutes, they have already become "album only" downloads.

Impulse! has released a lot of "complete" Coltrane collections based on what was in the vaults. But the Coltrane family has a lot of tapes of music not in the vaults. As I understand, that has been the primary source of the new material that has appeared in the last few decades.

Great! Thank you so much for what you are doing. Some of us REALLY appreciate it.

That will be a stellar release, one that we have been dreaming of for some time. I also hope very much that you will be able to improve on the sound quality of The Hard Blues, which is pretty poor on the CD releases of Coon Bidness. I just picked up the Bill Dixon. Very nice job!

About time!

Is anybody else enjoying this one as much as me? There is no shortage of live Coltrane floating around, but this one is quite special (IMO). Trane had just come back from his outstanding 1960 Europe tour with Miles in a white heat of inspiration, and had just formed his first quartet. This concert is supposedly from June 27, 1960. McCoy Tyner had joined the band the previous week, replacing Steve Kuhn on piano. Steve Davis and Pete LaRoca round out the quartet. From the opening devastating 30 minutes of Liberia to the last killer 18 minutes of But Not For Me, this is one hour and twenty five minutes of great vintage and historical Trane. The sound quality is more than acceptable. Maybe there are other live tapes of the quartet from this period, but these are the first that I have ever heard and I can't get enough!

Irony would have it that Flamingo is currently one of the only songs on Stan Getz and the Cool Sounds that is available as a download only in "album only" format, i.e. you have to purchase the entire album for $10 to get it.

That's a relief! I was scared that there might be another 40-minute version to sit through.

The lesson is that Sony doesn't really give a shit. Of course, that is not really news.

That is fXXXing wild.

Interesting! Thanks for the link.

I guess that is pretty convincing evidence that Jim is right, and that the Snooky Pryor song is the source. The blues riff on this and other songs still has a very different feel than the Yardbirds' riff. The blues riff sets up a sort of call and response. The first five notes are the call and the next four are the response. The Yardbirds put it all together into one line. I think that is why it didn't click with me. On the original Pryor track, the riff is actually only played four times as a sort of introduction. Then it becomes pretty standard Jimmy Reed-type accompaniment. As far as the ascending note question is concerned, I hear it as three ascending notes followed by a drop of a fourth. No?

Jim: I don't hear those last four notes in the Pryor riff either. The Pryor riff (and the Little Walter riff) sounds to me like a faster version of the riff used for Muddy Waters' I love the Life I live (at last in feel, as there are more notes). Yes, there are similarities, and maybe the Yardbirds did get their inspiration from it (most likely from the Little Walter track, as it was more widely heard). But I still do not hear it as the same riff. Of course, there is still the possibility that we are listening to different tracks. I am listening to the original 1956 version recorded by Snooky Pryor for Vee Jay. To be more precise, all the blues numbers that use the similar riff (Walter, Pryor, Muddy) resolve it at the end down a fourth on the tonic. The Yardbirds don't, and that is one reason why it feels different.

Jim: If it is the 1956 recording, then it uses the same riff as Little Walter's Hate to See You Go. Yes, there is some similarity. The Yardbirds did not come out of a vacuum. But I would say that it is still not at all the same riff (IMO). The Lonely Woman riff is longer, there are additional notes at the end, and it has a completely different feel to it (IMO). On the other hand, that Youtube track that you posted sounds much more like the Lonely Woman riff than does Snooky Pryor's original track. That is what I found interesting.

Which version are you listening to? It cannot be the 1956 original.