danasgoodstuff

If we're talking about gigs we played, reading my Hank Mobley poem with my friend Scot Fultz' band Straight No Filter in MN (I have this on tape somewhere, I think I only stumble once), and playing a free improv gig with a Smegma offshoot where Perry Robinson sat in.

Well, lets see what I can actually remember. The Faces in Edmonton, we hitchhiked from Saskatoon by way of Calgary on spring break and got caught in a blizzard naturally. And they rocked that little hockey rink, Wood in particular playing better than he ever did in the Stones. It was before Every Picture came out, but they did Losing You. Sonny Rollins a bunch of times, the most memorable of which involved him using the echo off the bleachers he was facing and playing off of that. Bill F. a bunch too, most memorably in a duet with Joey Baron where the whole thing just flowed one thing to the next, Jobim, Hank Sr., the Kinks, putting a kids picture book on the stand and playing that, stunning. Ornette Coleman with Denardo and 3 bass players who miraculously managed to stay out of each other's way, helped by a great sound system. But the three most memorable were probably Keith Jarret's American quartet in Edmonton (I think I took the train from SK since it was the dead of winter), and Sun Ra and the Art Ensemble, separately but both at my alma mater after I'd graduated, maybe fall of '80 within a month or two of each other. Saw them both several times, but these two gigs were as good all the way through as the best moments of the others. For a gig in Saskatoon, I'd say jeff Beck with Yawn Hammer at the old arena with plywood over the ice, much better than the live album from that tour. Almost forgot 2 other notable gigs: Weather Report right after Alphonso Johnson joined, multi-band gig with the Headhunters headlining and Graham Central Station going way over and stealing WR's time - they played about 35-40 of the most intense minutes I've ever heard. And local heroes the Blue Cranes much more recently in a similar situation where they only had about 40 minutes in some local benefit or tribute free for all, they just burned and crammed as much invention into their slot as possible. And I very recently saw my long time friend Tim Duroche and new friend Nathan Hansen recording some free-ish duos and trios at a local studio where I was the only one not directly involved - they'd invited more people but I was the only one who showed.

I'll be around, newly inducted into the R 'n R Hall of Fame - the Spinners

In '63 joining Miles would have been seen as a good gig to be sure, but not necessarily as life altering, totally anachronistic statement.

As much a Canadian cultural icon as the Group of Seve (8, 9, whatever).

That's interesting, but hardly determinative of anything.

listened to this one with Don Sebesky arrangements today

College roommate music, or loner in high school dreaming about going to college. Over sensitive is easier to deal with than belligerence as a cover for insecurity. But being a famous musician certainly helped some avoid growing up. And where do you draw the line on 'early Joni'?

Because Joni largely vaulted over the stuck in sophmoricism of most Classic Rock and neo-folkies. I too prefer her to most of her circle or contemporaries, and so did David Crosby. Although she has her own daft moments too. But young Neil being young when he actually was is fine, it's the 15 year olds with 50 years experience (on stage and in the audience) who bug me.

I used to fish with my dad when I was young, but that wasn't really about fishing per se as much as it was about having something to do together and an excuse to drive all over the place. I also love attenuated analogies and free association. and the pic isn't exactly like the illegal rig I saw snagged on a rock on the upper rouge (a stream in Southern Oregon which is or at least was a very fine trout and salmon stream with strict tackle and catch limits). What I was trying to say about that particular Buffalo Springfield tune is that it's overabundance of hooks is charmingly naive, that a more mature songwriting wouldn't throw it all in at once and go overboard like that but that a youngster making his first big time record would. The too many hooks lure is sort of dysfunctionally over the top in a similar way. And things that you do and see and hear when you're young can stick with you in a way that goes beyond how good they really were.

That's a heck of a deal.

You're welcome, that's weird about Bob T and I remember In the Tradition as having kind of wonky sound with maybe just a little too much edge to it.

Song is pretty darn hooky, Neil just didn't know when to stop sometimes (see Broken Arrow). Kind of reminds me of some tackle I once saw snagged on a rock on the upper Rouge River in a stretch where anything more than one single hook was totally illegal. Whatever you think of the fishing regs, I don't think we need rules like that for songs.

Frank Wolff produced the Lou linked to there, and it's not even the best thing he did in that era. I think Lou's Natural Soul is as good as anything Blythe ever did (my fav of his would be Lennox Ave for the texture behind him). FWIW, I realize that I just contradicted myself but some days you want apples and some days you want oranges.

That would be a shame because some of Henry's best work was done for them.

I'm a big fan of Air Lore, 2 Scott Joplin, 2 Jelly Roll Morton, 1 Threadgill original, no idea if it's on Bandcamp

Yes, I saw him locally long ago and know his current keyboard player. That said, I've heard live performances that were more compelling to me than anything on record and stopped buying his albums long ago. but I'd still say I like him. When I was working in the record store last year, one of the most depressing things was straightening the bues section and realizing that there was next to nothing from the last 30 years or so that had any interest to me. And yes, I have heard some.

Yes, that's probably the high water mark. I have everything but their last one.

Soft spots of mine: Early Stax, even when the singing is lacking and the songwriting nonexistent. Chess blues in the '50s by 2nd string players like those featured here 5 Live Yardbirds and any number of things I heard early on. And one late discovery, Billy Larkin and the Delegates, who are like a cross between the MGs and the Ramsey Lewis trio but not as good as either.

This. Unfortunately, many don't even want growth or have any concept of others. It's pathological.

Loved this when it came out, but can't say I've gone back to it much. But they can play anything.

Hmm, we'll see, I guess.

The backwards solo order on Mellowtone totally works - such a simple idea but genius. I wonder if they tried it the usual way first?

Hank Mobley Quintet Lee Morgan, trumpet; Hank Mobley, tenor sax; McCoy Tyner, piano; Bob Cranshaw, bass; Billy Higgins, drums. Van Gelder Studio, Englewood Cliffs, NJ, June 17, 1966 1743 tk.3 Straight No Filter Blue Note BLP 4241, BST 84435, CDP 7 84435 2 1744 tk.14 Chain Reaction - 1745 tk.15 Soft Impressions - * Blue Note BLP 4241 Hank Mobley - A Slice Of The Top not released * Blue Note BST 84435 Hank Mobley - Straight No Filter 1986 = Blue Note 7243 5 27549 2 2 - 2001 = Mosaic MD8-268 The Complete Hank Mobley Blue Note Sessions 1963-70 2019 * Blue Note CDP 7 84435 2 Hank Mobley - Straight No Filter 1989 How about this Hank session that's a little short for a 12" LP?

I liked that!