danasgoodstuff

But the track listing is for the CDs!

Saw Roy in Ptld recently, he was tripping but looked and sounded great!

I'm looking at a 2012 World Book here at Reference Line in Multnomah county Library's Central branch, wee have this big multitierd lazy susan kinda thing. When I worked in a neighborhood branch where we had both, I used World Book for homework Q's way more than Brittanica

http://singlesnet.pissedconsumer.com/ caveat freaking emptor people!

In said interview they mention some 10 step process of improv Lee came with, anyone know anything about this?

Good interview with Lee in the current Saxophone Journal, whether that's worth $12 is up to you.

I watched most of VH1's 100 greatest of the o-o's, or whatever they called it last night with my 10 yr old daughter, in part to see what her reaction was. Still a little girl, in a not very little girl-friendly world so we talked about how 'life is not a music video', etc. The music was pretty blah for the most part, a hook and a decent catch phrase at best - doesn't anyone write whole songs anymore? Even the riffs, played or sampled, weren't much to my ears. The really depressing part was the commentary from musicians, comics, C-list celebs and a couple of Mob Wives. "everybody loves that song", um no. "In the club..." large groups of drunks like anything at high volume. and the celebration of a recordings genericness, "Oh, that's really _____(one cliche or another)" Compared to this shit, Leroi Jones really is a freakin' genius. And yes I do listen a little beyond the hits, but most of what I've heard for the last several decades strikes me as vague approximations of music - most frustrating, the use of what I call 'barbless hooks' where a starts to get catchy but is then left unfinished, seemingly on purpose...

I'm thinking RICO charges...

I, too, read Black Music & Blues People and various other bits 'n pieces of Mr. Jones' work many years ago. Even then he was half full of shit, or totally full half the time,,,BUT when he was good he was very good indeed, especially when he was making the connection between the New Music he so loved and not letting your self be limited to any received notion of who you were or could be. "you're no THING" he cried. And I heard and was moved. And then he went and became a thing himself, an ugly stupid thing. and no amount of historical context makes that any less so or less tragic, and only slightly more understandable, IMHO YMMV ...into infinity.

"I ain't got no Basie with lester/i ain't got nothing but the blues" that's why

WFT?!

Only if they want to get something done! Lots of people don't about lots of things but they rarely have much impact on those things.

^ Davies, Norman (1999). The Isles: A History. Oxford: Oxford University Press. p. xxii. "Many years later, having written Europe: a history, I was invited to give a lecture at University College, Dublin. After the presentation, someone in the audience asked about my current project. I started to reply that I was thinking of writing a history of 'the British—'. I then realized that in Dublin, of all places, one cannot talk fairly of 'the British Isles'. The Isles ceased to be British precisely fifty years ago when the Republic of Ireland left the Commonwealth, though few people in the British residue have yet cared to notice. Various clumsy alternatives were discussed, such as 'the British and Irish Isles', 'Europe's Offshore Islands', and the 'Anglo-Celtic Archipelago'. In the end, it was decided that the only decent name for the forthcoming book was 'A History of These Islands'. And such was one of several working titles until, after much trial and error, I eventually arrived at The Isles: A History." I liked this, complete with much discussion of historiography and changing historical perspectives, not everyones' cup of tea I suspect...

The Robt. Jr. website gives his dob as 3/27/15, SBWII who knows?

I should probably know -- but were Byard, Davis and Dawson (all three) on any other (non-Ervin) dates together? They are on the Jaki Byard Experience LP along with Roland Kirk

I wouldn't put it that way. Some of the songs mentioned have melodic similarities, but they're not "songs with multiple names". "Got My Mojo Workin'" and "High Heeled Sneakers" have melodic similarities, but if you take the original melodies and compare them side by side, they're not the same. Blue Mitchell creating a hip new variation the HHS melody is another thing altogether. The number of variations is endless of course, unless somebody is trying to play a melody as written (in the case of an instrumental version, purposefully retaining the melodic inflections of the original vocal line, for example). I'm being picky perhaps, but as a musician, I'm slightly uncomfortable with the premise that some of these songs are melodically "the same". That's a bit simplistic, imo. Thanks for the thought full response, I'd add that sometime the melody line isn't what's defining of 'the song', it could be the groove or the riff or any number of things...

Night Train = Happy Go Lucky Local + That's the Blues Old Man. Hucklebuck and Now's the Time are NOT exactly the same, and what they share go back before either Got My Mojo Working and Hi Heeld Sneakers are same melody set to a different groove, eddly Blue Mitchel's HHS sounds more like GMMW to me. And that's funny 'bout Werewolves of Alabama, someone should do them as a medly!

Frank Strozier did play with him briefly, do recordings exist? Grant Green is an intriguing suggestion, but then Geo. Benson didn't really work too well, and Geo. is heavioly Greenish. I have a boot with Lester & Miles on one cut, would love to hear more. Miles & louis, then Wynton & Stanley could STFO.

I think it's well-established that Mile had wanted Shorter for quite some time before he got him, since at least "blue Xmas" in, what was that. '62? ironic then that some hear alot of Hank in Wayne...

Maybe the significance is that"Mama shoudn't cook when she's so fucked up"?

IIRC, Corea doing B Evans w/paul Motian whould be out soon, or is that some other label?

Besides being on BN, and championed by Mike Cuscuna, Hank also became a sort of poster child for every musician who 'wasn't a giant, but had his own voice'. and, yes, I do own nearly everything he did and LOVE most of it. But he still wasn't a great match for Miles in that band at that time, and Miles wasn't one to be happy with just good enuff...Hank & Lee & Higgins, a triangle made in heaven!

In a career filled with ups & downs of all kinds, Etta Rocks the House remains one of my personal favorites. Rest in peace, Ms James.

I believe Loretta Lynn gave Charlie Pride a big ol' hug and a kiss on some C&W awards show specifically because someone told her not to even touch him (surest way to make sure she did, on purpose?). Later than some of the other examples here, but no less significant in context.

I've always heard this in my head as a sort of neo-Coltrane instrumental, and done my inept best to play it that way - rubato and dramatic on the A section and snapping into tempo for the bridge. Surely the breif fashion for things Northern was a reaction to their long un-fashionableness?