felser

Bit of an overreaction maybe. Two posts out of 30 meet your description to some degree, and one of them is Clem, so it's more a matter of style than anything. Not a bunch of snobs at all here, but you need a tougher hide in this neighborhood. You got a bunch of legitimate responses and discussions, what do you do with those? Just lump them in with the two bad ones and call everybody names?

Corrected, thanks. Larry, what are your thoughts on Alexandria?

That one is the winner for me too. I'll buy it and replace all of the individual Brown/Roach CD's. Some of the other stuff I don't have on CD at all.

Listening to this CD right now for the first time, and pretty blown away by it, and by Alexandria in general (I've heard little of her). What an amazing singer. Why isn't she mentioned with the giants? She's that good to my ears, up there with anyone who ever stepped to the mike. This is a late 50's live date, with the King Fleming sextet, who have some pretty interesting personnel. Charles Stepney, the great 60's-70's Chess arranger, plays vibes. Vernal Fournier, of Ahmad Jamal fame, plays drums. Earl May on bass, Fleming on piano, Cy Touff on bass trumpet, and Paul Serrano on trumpet. Anyone else dig Alexandria as much as me? Or are my ears overestimating her? Also, any other recommendations on her King and Argo albums?

You may well be right, but maybe from the points of view of the characters (and of a lot of people in the South then), there were no Civil Rights if you weren't white, there was no such thing as white-on-black racial injustice, and turbulant social change is a threat to be either denied or fought against. I lived in Huntsville, Alabama iin 1965-67, and there were still two water fountains ('white' and 'colored') and three bathrooms ('men', 'women' and 'colored') in some of the local places, and crosses were burnt on the hill every Friday night. And "Eve of Destruction" was banned where I lived, even though it was a #1 song nationally. I never heard it until I visited the north in the summer. "Ode to Billie Joe" never says WHAT was going on, so purposefully leaves itself open to any number of interpretations. That's some of what was so wondrous about it.

PM sent

Not sure that it matters, but it's "she", not "he". Indeed it is. I was trying to type quickly and continue conversation with my wife on different topic at the same time.

Not hijacked, just a series of individual and collective improvisations on the changes. It all comes back around.

I've never heard it either, but his body was thrown into the Tallahatchie River in 1955, that's fact, and I have trouble believing that and the reference in the song from 1967 are mere coincidences. Anything else is conjecture (the lyrics don't really say).

The hit tune was from 1967 and many (most?) of the covers were well before the movie. There is a major historical allusion in the song which I only realized in the past year from research on a different topic. Remember the key line "He and Billie Joe was throwin' somethin' off of Tallahatchie Bridge?". Well, not pretty, but here it is. Emmett Louis "Bobo" Till (July 25, 1941 – August 28, 1955) was a fourteen year old African-American boy from Chicago, Illinois brutally murdered [1] in Money, Mississippi, a small town in the state's Delta region. His murder has been cited as one of the key events that energized the nascent American Civil Rights Movement.[1] The main suspects were acquitted, but later admitted to committing the crime. Till's mother insisted on a public funeral service with an open casket to let everyone see how he had been brutally killed.[2] He had been shot, beaten and had his eye gouged out before he was then thrown into the Tallahatchie River with a 75-pound cotton gin fan tied to his neck as a weight with barbed wire. His body stayed in the river for three days until it was discovered and retrieved by two fishermen. Pretty gutsy stuff for a white southern woman to be writing and singing about in 1967, so I hand it to Gentry. The record certainly deserved it's success. Bob Dylan also wrote and recorded a song called 'The Death of Emmitt Til', which is an outtake from the Freewheelin' Bob Dylan album.

And one I've always been fond of, Impressions of New York by Rolf & Joachim Kuhn. and the Marion Brown titles on Impulse! and the John Klemmer titles on Impulse! and Ahmad Jamal 'Outertimeinnerspace" (never understood why that wasn't added to 'Freeflight' as bonus cuts, since they were recorded at the same concert) and Curtis Fuller - Cabin in the Sky and Elvin Jones - Dear John C. and the Gabor Szabo and Chico Hamilton titles that have never been released domestically. So much of the same thing over and over again. This will be their third domestic CD release of many of these titles, while other deserving titles have never been released domestically on CD, and some haven't even been released in Japan on CD.

I've been a Donny Hathaway guy since 1970 or 71, when I heard "The Ghetto". My understanding is that the compilers of 'These Songs For You, Live!' wanted to put everything from the first two live albums plus the unreleased tracks on a 2-CD set, but that the company would only let them do one CD. They didn't leave out anything glaring, given that choices had to be made, but there are enough missing tracks that you'll want the other two live CD's also. 'These Songs For You Live' is probably the best place to start on Hathaway. You get his incredible "What's Going On" (I'd take it over Marvin's if forced to choose only one version), a live version of the beautiful "Someday We'll All Be Free" (covered memorably by Alicia Keys in the concert right after 9/11), a great live version of "The Ghetto", and almost another hour of music on top of that. 'Extensions of a Man', as touted by Mr. Sangrey, has some amazing moments, such as his cover of "I Love You More Than You'll Ever Know" and the studio version of "Someday We'll All Be Free", though I find the album somewhat inconsistent. But it is truly transcendant in spots, and belongs in all of our music collections, as does every CD this unique artist released, which only amount to three live CD's and three studio CD's.

This one came today!

John Coltrane - Interplay. Beautiful box, as is Fearless Leader.

I have the set on now. It's really a beautifully done box, and it was $45.97 shipped for a five CD set from Amazon. In addition to the Dameron, Elmo Hope, and Ray Draper sessions, it's also missing the Red Garland sessions. Hope the third box with those sessions sees the light of day. This and 'Fearless Leader' were obviously labors of love.

DeepDiscount.com just sent the wrong CD in a package to me two days in a row. This is at least the fifth time they have done this to me. And they are never able to correct the situation and send the right CD, they just keep sending the wrong one, even though the right one is listed on the packing slip. And last time, they made me pay the return shipping on the CD I had to send back. Interestingly, they have never made an error on any DVD I have ordered from them. Has anyone else had bad experiences like this with them, and has anyone found a good way to deal with them on issues, better than returning the CD, getting a refund, and buying it somewhere else at a more expensive price? Thanks for your input.

PM sent on following titles: Ron Carter/Herbie Hancock/Tony Williams - Third Plane (OJC/ZYX) Marilyn Crispell - Nothing Ever Was, Anyway (ECM 2cd, w/Peacock, Motian) Rolling Stones - Beggars Banquet (Hybrid SACD, sealed, rare) Rolling Stones - Let It Bleed (Hybrid SACD, sealed rare)

Email sent on following: Booker Ervin The Book Cooks Bethlehem $7 Jimmy Woods Sextet Conflict L OJC $7 Kenny Dorham Matador/Inta Somethin' BN $12 Kenny Dorham Showboat Bainbridge $10 Booker Little And Fiend Bethlehem $9 Eric Dolphy Far Cry OJC $4

I like most of the Desmond stuff quite a bit, but I'll tell you what I consider the great underrated Brubeck albums - the ones with Gerry Mulligan. Try 'Live at the Berlin Philharmonie' as a starting point.

Something like this is where freakin' iTunes could make a niche for themselves with collectors. But they don't care about collectors.

This was the 1972 album that had "Superstar" and "Take A Look Around" on it. It's the only Norman Whitfield-produced Temps CD that I don't have. I have most of the cuts on other Temps collections, but would like to have the actual album in context. Thx for your help. I find the Norman Whitfield and Frank Wilson-produced Motown albums from the early 70's to be pretty wonderful, very strong start to finish, and very underrated IMO. Wilson is especially underappreciated (Whitfield at least gets some props). "Up The Ladder To The Roof" is an absolutely breathtaking production, still gives me chills 37 years later, even when I play it a bunch of times in a row. 'My People Hold On' by Eddie Kendricks is another lost Wilson-produced gem.

15 years back, sold my Tim Buckley 'Starsailor' and People 'I Love You' CD's to the used store for $2 each, and sold a lot of the early Mosaic sets for their face value when the music came out on other labels, where they are worth hundreds now. Back then, my brain didn't comprehend that CD's would go out of print and have great secondary market value, or that for some reason the same music in a Mosaic set would be worth 10 times what it is in a normal Blue Note or Bluebird set that is just as nice and sounds just as good (still don't really understand why).

Well, now I'm $109 poorer than I was 30 minutes ago.

I like this album quite a bit, but am saddened by the offhand dismissal of 'The Prisoner'!. The first two jazz albums I ever bought (got them at the same time) were Lee Morgan 'Live at the Lighthouse' and a Best of Herbie Hancock collection. Both were Blue Notes, two LP's for the price of one. "Absolutions" on the Morgan and "King Cobra", "I Have a Dream", and "He Who Lives In Fear" on the Hancock changed my life (or at least my ears) forever. 35 years ago this month, and I remember it almost like it was yesterday. It hurts to hear the last two titles (both from 'The Prisoner') called "cold"! Not an objective, measured response, to be sure, but one I had to share!

I liked Klemmer from this period quite a bit. Was really interesting to me until 'Touch' (and I actually think the title track on that one is stunningly beautiful, but have no particular use for the rest of the album). Anyone who has preconceptions of Klemmer's pre-Touch work based on familiarity with his post-Touch work would do well to instead give it a listen. It's very different than what you would expect. It has it's flaws, but also it's substantial merits. From about '69-'70 to about '73-'75. fusion had some wonderful moments, seemed like it was a true breakthrough, not the commercial formula it soon degenerated into. Weather Report, Mahavishnu Orchestra, Return to Forever, Corea solo, Stanley Clarke solo, Miles, Larry Coryell, Klemmer, Soft Machine, Ian Carr & Nexus, even Frank Zappa, even Chuck Mangione that early, all were doing really interesting and exciting things in the arena. It was, as Whitney Balliet had coined about jazz, "the sound of surprise" (it shortly would become anything but). The very success of what they were doing seemed to bring about the doom of the sub-genre. As Jim layed out earlier in this thread, iconoclastic fusion became formulaic Fusion, and it was over. Klemmer was one of the self-inflicted casualties, and is largely only known for his later commercially successful genre compromises rather than for the challenging stuff he did before that.