danasgoodstuff

Thanks for the thoughtful reply, I know you've thought this through and worked it out in practice to a degree I've never even attempted. Nonetheless, I can only go with my own responses in the end. There are solos that could be called 'all over the place' that I do enjoy, so maybe that wasn't the best description of what I'm hearing or not hearing here. I could give it at least a promising direction that he unfortunately didn't follow up on, which would put us not so far apart. For a music that's supposed to be about improvising, there's very little close analysis of not just what exactly happened in particular performances, but why is that good - the first is hard for more or less technical reasons, the second for more philosophical ones. And I agree about bebop being a closed little world, even if you think 52nd St. back in the day was some sort of Eden, you can't go back there and playing like Bird done it doesn't mean now what it meant to him or his audience. Thanks for giving me something to think about, as always.

It's an impressive solo, but I honestly don't think it's a very good one. Too all over the place for me.

I've loved RR and The Band since way back in the day and, if anything, that's only grown for me. Saw them just once, with Bob in Seattle in '74. It worked in the room better than it does on the live album that came from that tour. Collaboration was the key to what made the first two so very special, and I have to think John Simon's involvement played a role just as Jimmy Miller's did for the Stones. I've got the box set, the deluxe versions of some of the albums, but not all the bells and whistles, yet. I'm a bit bummed about RR's passing, but not overly so - good long rum, did what he wanted and if that meant not revisiting what he did with The Band except to curate the reissues, well that's his perogy. As a guitar player, he was right for that band and for Ronnie and Bob, but I wouldn't have hired him as a session player. As a songwriter, when he was good he was great, but when he wasn't it could be unintentional bad self-parody awkward. RIP and thank you.

Go Riders! I somehow managed to not watch any CFL when I was in SK briefly earlier in the summer.

Well, there's modern and then there's modern, right?

Modernism was an interesting idea, but we're past that now. Or is that post?

Spyro Gyra, mall or boutique hotel jazz?

Good for them.

Live Hutch/Land material would be nice to have.

Willie's duet album with Webb Pierce is pretty darn Honky Tonk, without much of the Western Swing element that's always there more or less overtly with Ray Price, speaking of whom I like his tribute to Bob Wills a great deal, coincidently also called San Antonio Rose, and Bob's band singer Tommy Duncan was an interesting pop/jazz/country hybrid, and as someone interjects between verses on Ray's SAR 'you sound like Tommy Duncan...You wish!'

Kinda-sorta kinda-sorta? Either of those can be shtick of the worst sort, or not. Depends. If you mean this one, then yes I totally agree - it's a thing of wonder that's been in regular rotation round here for 40 years or so. The others they did together are nice too.

Care to elaborate? As far as jazz singers and jazz in general, who was the last singer to engage with what was going on in instrumental jazz in general and find a large-ish audience? Cassandra Wilson did but that was 30+ years ago and her popular work seems far removed from her M-base connections. No criticism, just an observation. I found her good songs are where you fine 'em attitude a refreshing change from the GAS-bag fetish.

I assume you're all familiar with the single if not the whole album.

I hadn't heard the tires bit, is that substantiated or just rumor?

Thoughtful comments, thanks. Does anyone here agree with me that Linda does a better job here than with Riddle but she's still not a jazz singer.

Doo Wop legend Jesse Belvin singing standards with Art Pepper et all, very tasteful maybe too much so? Not wure where this fits in, if anywhere.

Found a 6 pack today, wasn't cheap but I bought it anyway.

If it becomes an employee owned co-op that would be great, or at least it could be. and I would do my best to support them as much as I reasonably could. but it's hard to know how viable it might be - they would probably end up with a serious debt load, competition is fierce, and any down time just gives them a bigger hill to climb.

Jack McDuff with Red Holloway, George Benson, and Joe Dukes, greasy

it's fine work by all involved, and the point in life Frank was at physically and emotionally is certainly part of that.

Mixed feelings on Christgau, but great review since it may garner you some listens and purchases from people who wouldn't normally have you on their radar at all.

I think my interest in avant gardians probably peaked some time ago, but I still like most of what I liked back then - Ayler, Shepp, etc. but to me they are grounded in blues and other vernacular music feeling. But to me so is Jimmy Giuffre, his The Train & the River is both down to earth and down home. It breathes, which is a term I prefer to swing since that has specific style and period connotations I don't particularly need or care about. And while most of the music I like is from or overtly influenced by specifically African American traditions, it doesn't have to be and some that are fail to do anything for me. And there are a lot of different shades of blues and many are to my liking but some are not, including most blues product of recent decades and much overtly bluesy jazz and rock. Such broad categorizations don't capture what I like very well.

If they included the unissued Freddie Roach on BN session on a box, I'd buy that. "Trailers for sale or rent..."

Yeah, SOTW is in its own dimension. Not that that's bad, it's just different.

If they do KB I'd buy it if they include the unissued version of Jr. Parker's "Next Time You See Me", otherwise probably not. I have some of the BN on Mosaic, but haven't bought anything in a while, and not new in even longer.