danasgoodstuff

King Curtis was the man on virtually all the Coasters singles, presumably "Along Came Jones" as well. What I wanta know is who was it on the Chords' "ShBoom"? It's not yer usual hard 'n heavy honking, but it sure sounds sweet to me. I'm also quite fond of Bobby Keys' work on the stones' "brown Sugar" which pretty much distills everything he learned from King curtis, et al. Also love Jr. Walker who took honking into the Soul era, "Cleo's Back" and the other pre-Motown singles esp'ly.

I think I miss Lester Bangs more than John Lennon...

I think Jazz Kat has a point, something can be a jam session standard without there being a lot of recordings. Can't think of a good jazz example but I can think of some rock 'n roll ones, e.g. "Gloria" got played at certain sorts of rock gigs just as much as "Louie Louie" but wasn't recorded as much or as big a hit. I do think it's a problem for jazz that there are (or may be) no recent standards or jazz standards (yes, I do understand and respect the dif). And yes, I am old fashioned enuff to care about tunes...

chewy, since no one else has answered, I'll give you the quick and dirty - the're partially unissued, just like the two on the new CD. Perhaps someone can post the details or you could google "bluenote discography" and find it. I was hoping for the next Turrentine to be 3 sessions, including the "Love is Blue" 45 session that is also partially unissued. Maybe I'll look it all up and repost later...haven't bought the new ST, but I will shortly 'cause I dig the stuff that has been previously issued and am a sucker for unissued BN of any sort. Dana

Looks good; given Kirkland's precense, I gotta ask 'when was it recorded'?

I hesitate to jump in, least this thread disappear too, but I gotta stick up for us oregonads(sic, v. sic) - some of us do use toliet paper...

I am certainly not going to assert that the 3 sounds don't work here, they were after all the 4 sounds with a number of different sax players before they made it and I think their working unit togetherness is part of what makes this work (and it certainly does, IMHO). So I don't waste any time imagining others, piano bass or drums, here - it is what it is, and that's v. nice. So is ST at Mintons, as well as most of his BN work, but it ain't either or.... As a 'late night' mood thing it certainly works as well as Midnight Blue, although I am generally an 'album is a variety thing' guy... 9/10?

Maybe if BN ever does a Lou D box set they could cherry pick the unissued/rejected stuff, certainly deserves it, from Monk sideman to bringing Horace and Grant to the label to booga-Lou...

My fav was the guy trying to impress a girl holding a robt Johnson CD, "Oh yeah, I heard him open for the Stones." Not in this world he didn't.

Regarding mountains, tops 'n all, T.S. Elliot's "Tradition and the Individual Talent" may prove instructive, or not. Regarding JOS and downbeat, I'm not surprised he won again and again, the margin's a bit much but maybe some of it's that selfreinforcing thing going on...maybe we could do a poll compairing this to Gerry Mulligan's dominance of the Baritone category. so John Patton's underrated, esp'ly the latter stuff, didn't we all already know that?

"Trailers for sale or rent/rooooms to let, fifty cents" Maybe if the brits do more of them weird themed antho's we'll get to hear at least some of it...

Know what cha mean 'bout that first VU disc with all them demo's but may be we could apply special numbering and call it disc '0' 'cause zero is what it's worth and it's kinda before the beginning and I can't believe they put that shit on but couldn't findroom for "Melody Laughter" at full length (btw, what's a good source?)... Other first disc is the deepest - the Rhino Doo Wop I & II (III I might like disc 2, the shoulda been hits best) The band's Musical History, disc 1 coulda been with a little editing, it's still the most varied/interesting...

I thought Jordin was a'right and definitely grew during the season, unlike some others. But no show of this sort is gonna find you the next John Lennon, Bob Dylan or Willie Nelson. Anymore than TS Monk's competition is ever gonna give us anyone even remotely like his dad...

I got a recimmend for you - make sure your sight reading's up to snuff before attempting any of her charts. We played one in stage band in college, it had plenty of accidentals on top of key changes and time changes at a fierce tempo for 200 some through composed bars and I don't think I ever got past the 4th measure. Nor that that makes her music better...or worse.

Can't think of anything even vaguely resembling a rock act on the scene less than 20 yr who I actually like, closest would be Los Lobos who I respect and admire but only somewhat like...Jeez, now I feel old (I am old, but that's no reason to feel it...)

I think the core issue for Lou D wasn't musical style or cultural vsignificance, it was personal professionalism. Up through the early '60s at least most R&B players (road bands, not studio) and more so singers were quite often rankly amature compared to a guy like Lou who came up when you just had to know certain shit to even get on a jazz bandstand, mush less make a living at it as Lou has for nearly 60 years now. same thing would apply to his attitude re fusion players who reduce everything to modes and don't really know standards like he does....

There were some lovely clips of /ruth Brown, Joe Turner, Ray Charles and the Clovers (parts of 3 dif songs!). Good stuff on his differences with vis a vis J. Wexler. The royalty dispute with Ruth was covered, his role as an apologist for the Turk's slaughter of the armenians was not.

I'm more a fan of Love Bug, in part because of who's on it, but the're both good, dirty fun. "Hold On, I'm Coming" (bonus cut on Love Bug) is my fav since I'm a huge stax fan. Have to think about what my fav solo is...

Not to be confused with Little Johnny taylor...which, of course, they often are.

Was in the store the other day and I heard some pretty nice convential modern jazz on their system and wondered who it was til he started lecturing/hectoring in his prissy schoolmarm psuedo profound way - why can't Wynton just shut up and play? Still not quite as bad as the (Crouch authored?) sermon he put on one of his records...

The final product notes make the trane homage explicit, one piece is a notes for letters thing on "coltrane tenor" and, of course, they do "Africa" which works well as a small group thing and certainly doesn't get covered much. Unless I'm forgetting something I think I like this as well as any new jazz in the last decade or so, except maybe some of Frisell's Is It Jazz? Lovano sounds less indebted to Trane here than some other things he's done and I particularly like Lewis Nash, here and elsewhere.

OK, I know this isn't one of the ones I mentioned in my previous Help Me Pick thread but I had a change of heart. I also considered picking Dave Holland's Triplicate and/or extensions since they were the last of his that did anything for me. But I settled on Pat Martino's 2003 Think Tank since it's one of the few more recent things that I like, we don't do enuff recent AOTWs and I wanted to listen to it again anyways. It features Joe Lovano, Gonzalo Rubalcaba, Christian McBride (no relation to Martina?), and Lewis Nash, but it's not just a jam session. I don't pretend to understand Pat's elaborate theories but I can sense that the material engages the players. If you want a point of comparison I'd suggest the contemporanius LoScoMoFo album which left me cold. We'll have to discuss Michel, Dave, Willie and Big Joe another time.

On the way to Carcassonne you might want to hit some of the Cathar hideouts in the mountains.

All five sessions would probably fit on 2 CDs and complete the issue of all non-rejected ST on BN...except for Look of Love and Always Something There which were out on Applause and could easily both fit on one CD. The mid-sized sessions, the stuff I've heard anyways, are definitely better than Look/Always and even those heavily orchastrated sides aren't too bad.

and Stanley Turrentine Orchestra Burt Collins, Marvin Stamm (tp, flh) Garnett Brown, Benny Powell (tb) Stanley Turrentine (ts) Jerry Dodgion, Joe Farrell, Al Gibbons (reeds) McCoy Tyner (p) Everett Barksdale (g) Bob Cranshaw (b) Grady Tate (d) Rudy Van Gelder Studio, Englewood Cliffs, NJ, January 25, 1968 2033 Spooky Blue Note 45-1936, B1 31883 2034 Elusive Butterfly Blue Note (E) CDP 7243 4 93991-2 2035 Love Is Blue Blue Note 45-1936 2036 When I Look Into Your Eyes unissued * Various Artists - The Lost Grooves (Blue Note B1 31883) * Stanley Turrentine Plays the Pop Hits - Easy (Blue Note (E) CDP 7243 4 93991-2) * Stanley Turrentine - Spooky c/w Love Is Blue (Blue Note 45-1936) Larry Young Quintet