felser

If "Chimes of Freedom" and "My Back Pages" aren't poetry, I don't know what is. And he spoke to/for a (my) generation. Chimes of Freedom Bob Dylan Far between sundown's finish an' midnight's broken toll We ducked inside the doorway, thunder crashing As majestic bells of bolts struck shadows in the sounds Seeming to be the chimes of freedom flashing Flashing for the warriors whose strength is not to fight Flashing for the refugees on the unarmed road of flight An' for each an' ev'ry underdog soldier in the night An' we gazed upon the chimes of freedom flashing Through the city's melted furnace, unexpectedly we watched With faces hidden as the walls were tightening As the echo of the wedding bells before the blowin' rain Dissolved into the bells of the lightning Tolling for the rebel, tolling for the rake Tolling for the luckless, the abandoned an' forsakened Tolling for the outcast, burnin' constantly at stake An' we gazed upon the chimes of freedom flashing Through the mad mystic hammering of the wild ripping hail The sky cracked its poems in naked wonder That the clinging of the church bells blew far into the breeze Leaving only bells of lightning and its thunder Striking for the gentle, striking for the kind Striking for the guardians and protectors of the mind An' the poet and the painter far behind his rightful time An' we gazed upon the chimes of freedom flashing In the wild cathedral evening the rain unraveled tales For the disrobed faceless forms of no position Tolling for the tongues with no place to bring their thoughts All down in taken-for-granted situations Tolling for the deaf an' blind, tolling for the mute For the mistreated, mateless mother, the mistitled prostitute For the misdemeanor outlaw, chaineded an' cheated by pursuit An' we gazed upon the chimes of freedom flashing Even though a cloud's white curtain in a far-off corner flared An' the hypnotic splattered mist was slowly lifting Electric light still struck like arrows, fired but for the ones Condemned to drift or else be kept from drifting Tolling for the searching ones, on their speechless, seeking trail For the lonesome-hearted lovers with too personal a tale An' for each unharmful, gentle soul misplaced inside a jail An' we gazed upon the chimes of freedom flashing Starry-eyed an' laughing as I recall when we were caught Trapped by no track of hours for they hanged suspended As we listened one last time an' we watched with one last look Spellbound an' swallowed 'til the tolling ended Tolling for the aching whose wounds cannot be nursed For the countless confused, accused, misused, strung-out ones an' worse An' for every hung-up person in the whole wide universe An' we gazed upon the chimes of freedom flashing My Back Pages Bob Dylan Crimson flames tied through my ears, rollin' high and mighty traps Pounced with fire on flaming roads using ideas as my maps "We'll meet on edges, soon, " said I, proud 'neath heated brow Ah, but I was so much older then, I'm younger than that now Half-wracked prejudice leaped forth, "rip down all hate, " I screamed Lies that life is black and white spoke from my skull, I dreamed Romantic facts of musketeers foundationed deep, somehow Ah, but I was so much older then, I'm younger than that now Girls' faces formed the forward path from phony jealousy To memorizing politics of ancient history Flung down by corpse evangelists, unthought of, though somehow Ah, but I was so much older then. I'm younger than that now A self-ordained professor's tongue too serious to fool Spouted out that liberty is just equality in school "Equality, " I spoke the word as if a wedding vow Ah, but I was so much older then, I'm younger than that now In a soldier's stance, I aimed my hand at the mongrel dogs who teach Fearing not that I'd become my enemy in the instant that I preach My existence led by confusion boats, mutiny from stern to bow Ah, but I was so much older then, I'm younger than that now Yes, my guard stood hard when abstract threats too noble to neglect Deceived me into thinking I had something to protect Good and bad, I define these terms quite clear, no doubt, somehow Ah, but I was so much older then I'm younger than that now

I consistently enjoy Eric Alexander's work (the same way I consistently enjoy Dexter Gordon's), but find my attitude about most of what has been put out since the Marsalis revolution is pretty jaded. I find a lot of it expertly played but bloodless, the sense of discovery replaced by a sense of mastery, so much "been there, done that, but we can do it too, maybe even better). I realize this is both a sweeping generalization and also a defense of my own biases, which prefer what I heard when I first discovered the music, but there it is. If I had discovered jazz through Wallace Roney and Kenny Garrett rather than through Miles and Trane, I might feel differently. And I do love Garrett's Trane album.

Charles Mingus - The Black Saint and the Sinner Lady Charles Tolliver - The Ringer McCoy Tyner - Sahara Jackie McLean - One Step Beyond Lee Morgan - The Gigolo

That was after it was sonically unacceptable to enjoy and appreciate the McMaster CD's. And all this stuff (RVG and McMaster) always sounds great to my old ears on my cheap stereo equipment and trusty $30ish Sennheiser headphones.

I'll be the first old, cranky guy to comment. Blue Note totally stopped being Blue Note around the time of the last good Elvin Jones album for them, and the bleeding started when Alfred Lion sold to Liberty, and became fatal when Liberty sold to UA. Even the 80's "revival" was nothing special, and it pains me to see what gets done with the brand name today.

No, never heard of that one - you're killing me! Is it

Thanks, didn't know that. The CD's weren't.

Thanks. Any guidance on the least expensive way for me to get the LP? The least I have been able to find is about $35 shipped to USA so far.

The one missing Billy Harper album for my collection is "Knowledge of Self" (Denon, ca. 1978). I don't really do vinyl anymore. I am having trouble finding this in CD or download format (I just broke my sworn stance against buying downloads, getting the Hannibal Peterson MPS album from Amazon last night. As a consumer I feel ripped off, but as a listener I feel blessed. But would have payed five times the amount for a real CD issue). Any leads on the Harper greatly appreciated, thx.

Did not reaize he wrote "Stomp" and "Masterjam".. Both excellent!

Rod Temperton will always be this great song to me above all else. Archetypal disco. And this one by Temperton and Heatwave is cerrtainly iconic of the disco era:

You're right about that, for sure.

Quality control? Who would have wanted the job of telling RVG that he was getting the Blue Note sound all wrong?

I don't have these, but have dozens of BGO sets, and they consistently have outstanding sound.

Cool!

Up with edits, 70 gone, thanks!

Well, I'll pick off the easy ones. #2 and #11 are parts 1 and 2 of Charles Mingus' "Wednesday Night Prayer Meeting" from 'Blues and Roots' (vinyl to boot) with some amazing Booker Ervin, and #4 is some version/edit of James Brown's "Superbad". Much of the rest sounds, er, "unusual". I certainly feel a LOT of freedom for whatever I do in December! I'll listen more and see what else I can come up with, including a unifying theme I assume is there somewhere.

Al Downing Hank Aaron Aaron Rodgers

My contribution to help get the 1966 party started

But has there ever been a more important artist year than Dylan in 1966?

Pre-order price is about $150 on Amazon. $4 per disc? I'm definitely in. Following is from superdeluxeedition.com Bob Dylan / The 1966 Live Recordings / massive 36-disc box set September 27, 2016 by Paul Sinclairtags: 1960s, Bob Dylan Sony are to release, The 1966 Live Recordings, a 36-disc Bob Dylan box set that will contain every known recording from his legendary 1966 tour. These recordings are issued here officially from the best available sources (soundboard, CBS Recordings, audience recording). With the exception of the Manchester concert (May 17, 1966) released as The Bootleg Series Vol. 4 in 1998, a pair of songs appearing on the 1985 Biograph compilation and a smattering of others, the overwhelming majority of tracks and performances onThe 1966 Live Recordings are previously unreleased in any format – official or bootlegged – and are being made available now for the very first time. Liner notes have been provided by Clinton Heylin, and each individual CD is housed in a custom sleeve featuring stills from colour film shot by D.A. Pennebaker (see image above). I have it under good authority that these boxes will be very limited, so if you’re genuinely interested then best advice is don’t hang around and get your (UK) pre-order in or US link is now live. Discs 30 and 31 will also be issued as a 2LP vinyl set called The Real Royal Albert Hall 1966 Concert (it’s on 2CD as well). The title refers to the fact that for decades, Dylan’s performance in Manchester was incorrectly labeled, ‘The Royal Albert Hall Concert’. Now, for the first time, the REAL Royal Albert Hall concert (originally recorded by CBS Records) is finally being released. The 1966 Live Recordings will be issued on 11 November 2016. The 2CD version of The Real Albert Hall 1966 Concert comes out on the same day with the vinyl version of that release to follow on 26 November 2016.

One of the most interesting early Strata-East recordings (that label was a monster when it started, then fell off a cliff). Two long cuts, provocative front line of Coleman/Jordan/Watkins, the inimitable Harold Mabern on piano. Larry Ridley and Keno Duke holding down the rhythm duties. Two very long (20+ minutes each) tracks giving everyone more room to stretch out than they were likely accustomed to. Not without its flaws, but it has always been a very invigorating listen for me, and I have returned to it often over the 40+ years I've had it, always experiencing substantial pleasure. Great joy of talented players pushing forward rather than looking back, seeking inspiration here ahead of exhibiting craft, which is the opposite of what the principals seemed to do later in their careers. As such, it holds a magic for me beyond what maybe its pure musical merits are (though those also are substantial). Jordan had a great period from the early 60'ss (when he seemed to find his voice with Roach and Mingus) to the late 70's (the great Magic Triangle recordings with Walton/Jones/Higgins), then seemed to start mailing it in to me. Coleman also at some point seemed to give up the quest in favor of the craft, say, late 80's-early 90's. I've always thought his work with Miles Davis was underestimated because of him preceding Wayne Shorter. I'm glad Mabern experienced increased appreciation later in his career, I love his work with Eric Alexander (who is a monster to my ears). Thoughts?