felser

Allen, serious question. What makes 1970 the cut off? I can actually make an argument for 1972 being the cutoff, but not 1970.

Call me crazy, but...

I saw that book in a Barnes & Noble some months ago, gave it a lookover, and rejected it. The book seemed sort of creepy to me. 1971 was a very good year for rock music, but so was 1972 and 1970, and 1964-1969. The year rock really exploded was 1965. 1971's prime movement was "singer-songwriter", and that really was in swing from 1970 with "Sweet Baby James" and "If You Could Read My Mind". "Tapestry" is undoubtedly a great album, as are the others mentioned in the previous post, plus the magnficent "Allman Brothers Live at the Fillmore West" and Rod Stewart's great "Every Picture Tells a Story" but similar highlights can be found from any of the other years back then. 1971 was a very good year for AM Top 40 music also, but I doubt that factors into the author's thesis.

I believe I probably own #2, falls into that maddening "used to know it" category!

And was Joe Dukes still on the scene in the late 70's? Don't see evidence he recorded after about 1970.

If I had to select one title, it would be the Belgrave. Be sure you have the Doug & Jean Carn albums (start with 'Infant Eyes') and some of the others on Black Jazz before shelling out for these titles. Also, some of the Strata East titles would take precedence.

It is the stuff for you (and me). The Descendents of Mike and Phoebe was a mid-70's Strata-East release by Bill Lee and some of his relatives, The Ranelin, Harrison, Hammond, Belgrave,and McKinney titles (and maybe some of the others) were from the Tribe Record label, out of Detroit, same vibe. The Ron English was on Strata Records, also out of Detroit (Kenny Cox's label). Farrah and Irvine had releases on Strata-East, though they weren't these titles. Irvine had the whole "spiritual funk jazz" thing down. I'll let others amplify, correct, and complete my comments. I own close to half of those titles, and would love to have the others, but titles from that series are expensive to get at this point.

There are many high points to those wonderful Cookers albums besides the Harper contributions, but I agree those are the highest of high. And that Harper continues to be excellent in his tenor playing!

File a claim through Paypal or the credit card company, however you paid. They have all have buyer protection programs. Also, let the seller know you will be posting very negative feedback.

Howard Rumsey and the Lighthouse All-Stars will be making a special appearance.

Liked the Db's a lot in the early 80s but Stamey has done some very oddball stuff on his own. Peter Holsapple is good for him.

Ok, let's turn it into a parlor game. Who comes closest to being the heir to Dexter Gordon of Gen X, those born 1965-1979?

Hope to pick this up eventually. In general, I really like the Montreux Concert DVD's. No-nonsense presentations of the music, with good picture and sound, and the performers seem to be serious when at Montreux.

It is a good thing. I think exceedingly highly of Alexander, especially give the present era.

Understood. I meant as far as mature style, beautiful tone, being able to tell a story in a solo, etc. At the Art Museum, I heard him warming up, by himself, in a closed cafeteria, and even that sounded gorgeous. Alexander seems to have a healthier lifestyle than Gordon,

Big fan of his playing, but he has released a LOT of albums, so have not tried to keep up with them all. Though I probably own about half of them. Don't see a musical journey in the sense of Miles or Trane, so not sure that additional albums really add that much at the margin, though they each sure make for good to great listening. I think of him as the Dexter Gordon of this generation. Saw him live once with Mabern in the group, and it was a wonderful night (Philly Art Museum, 10-15 years ago).

My wife did the same for me.

I think this group was bigger here in Philly than anywhere else in the world. Favorites of WMMR, the major Philly FM free-form/progressive rock programming station back then, and I saw them at a sold out concert at the Mann Music Center ca. 1976, and they were great. "Mother Russia" is one of my favorite cuts of all-time. Never have figured out what they are talking about in the lyrics (deep, man, far out!) to the title track of this one, but the song sure does SOUND great, fantastic bass and keyboards, and the voice/vocals of Annie Haslam back then was one of the greatest wonders of creation. In case anyone wants to take a shot at the song meaning, here are some of the lyrics: Travel the days of freedom Roads leading everywhere Come with me now and show how you care Follow the dying embers Cross on the paths that they lay Breath of the past the earths yesterday Clear your mind maybe you will find That the past is still turning Circles sway echo yesterday Ashes burning ashes burning Colours are fading starlight Silver the way to find Walking the shadows, there in our mind Changing the order slowly Leaving the mist of time Fingers are holding fragments of mine Imagine the burning embers They glow below and above Your sins you won't remember And all you'll find there is love Ashes are burning brightly The smoke can be seen from afar So now you're seeing how far Ashes are burning the way Ashes are burning the way

Very obscure late 60's rock is a big part of my collection and listening.

Double Exposure has never made it to CD.

GREAT obscure 60's garage/psych