danasgoodstuff

I think its Of Love and Peace you're thinking of because I think some (don't know who right off hand, but I think a thread exists somewhere talking about it) complained about Eddie Gale's trumpet playing to the degree that they think it ruins the session. Personally I'm not bothered by Gales's playing, in fact I like this session quite a bit along with Mothership (perhaps another candidate for trainwreck status). Huh? Mothership doesn't strike me as a 'tranwreck' at all: do people really think so and why?

MORE THAN ONE MEMBER OF MY FAMILY HAS DIED IN A FIRE i WILL NEVER READ THIS JOURNAL

Untimely, to be sure, but not a big deal to me personally (I mean that in the nicest possible way). but when I heard Tommy Cogbill had died, "I cried like a baby".

Urine trouble now, and how appropriate, since this has totally turned into a pissing match, not surprising given the premise...

Let me think - I like Ayler's "Drudgery" but not the whole session, pretyy much all of his spirituals session (but it ought to b e issued with the originals done at the same session). I like Hank M's Reach Out, the whole thing but esp'ly the 'covers'. I like Stan T's "Always something There" and "Look of Love". But I'm not sure any of those are exactly train wrecks. Lots of things that weren't issued at the time, for techical or sonceptual reasons. Must be some pop/rock/soul too, but I can't think of any right now..

OK, this has done got weird... OK, this has done got weird...

"My telephone number is Cherry I-8-1-2"

Congrats Allen. i did a 6 K-7 set on blues for a friend some years ago, much less ambitious than what you've done here and it still took what seemed like forever! if you could send me some hype I'll see what I can do 'bout getting Multnomah County Library (where I work) to buy it. Looks great...

1959 was also thefirst time Studebaker posted a profit since 1952 (?)(29 million = what, 500 million in 2010 dollars?). This allowed them to build their last run of great cars (including the R3 option Avanti, fastest production car in the world, all 9 of 'em) but also to diversify and get the hell out of the car biz by 1966, saving the shareholders' shirts...there's a concept, the board and management of a corp working for the benefit of the shareholders. Guess it all depends on your perspective - 1959 was a v. good year for recorded jaz, but so arguably was just about any year up til what, the early-mid 70's when all American music went to hell and never came never came back, or not?

Totally agree, greatness is where-ever you find it; and just to be fair, what I forgot to say before was that if you wanted a Lennon-McCartney candidate for weak, generic teen pop songwriting, I'd nominate "Thank You Girl", but even there the performance lifts it a least a little out of the muck.

Thanx muchly for the response, I think a lot of what people think they know about the Beatles and John vs. Paul is pretty superficial and is, on close reading of the facts, only roughly true at best. I'll try to make a detailed case for Ticket to Ride as fine songwriting later if I have time. and something else, shich I've just forgotten!

And I don't buy that Broadway and/or movie musicals had gen'ly better songwriting than tin pan alley, or Nashville or the Brill Bldg. There are lots o musicals that only had one great song and a lot of filler to move the plot along and I can think of things by Willie N, or Smokey or Chuck B that are every bit as good as Porter or Gershwin. I don't even think Porter and the Gershwins are any better songwriters than Harold Arlen, or irving Berlin or Harry Warren Of course, being 55, I do think that songwriting has gone to hell now; perhaps in part a self-fufilling prophecy due to those who thought it had before it had...?

I can hear that in my head, at lest for the A sections of "Things" & "Eight Days', but not so much on paper or for the bridges of same. but then my grasp of harmony is pretty weak so things have got to be pretty darn similar for me to hear or see it. There are lots of small scale examples of them reusing material in their most prolific period, '64-65, which I've noticed while fake booking my way through it. Nonetheless, I think that was the strongest period for songwriting, roughly HDN BFS & Help!, and that after that the recordings may have been more interesting but it wasn't because of better songwriting per se. But then I have fairly conservative tastes in songwriting, to me there's nothing better than an effectively contrasting bridge taking you back to the A section, something they had in spades as long as one wrote the A and the other the B. I think Day In The Life is the last example of that.

9 to the Universe is a legit release, but it's long out of print, some of the jams therein have subsequently appeared elsewhere but someone else with more patience than me while have to do the details... Sony strikes out on both Miles and Monk live, recording and issueing OK but kinda redundant stuff over and over but dropping the ball (mixed metaphor alert!) by not getting what should've been obviously exceptional stuff. More than just Murphy's Law at work here methinks...

Getting back to the origin of this thread, and closing the Doors on digression, it's occurred to me that someone could be a perfectly good drummer, either 'technically' and/or in other styles, and still not be a very good 'rock drummer', if not nec'ly 'the worst'.

I'll definitely try to make the Miss pizza gig...

The Bennie Green is highly recomended by me, lots of fine Sonny Clark among other highlights, such as the pairing of Jug and Billy Root on one session and Ike Quebec and Stanley T on another. As I'm sure most of you know, but if you don't..NOW'S THE TIME!

Dudes! Da author of da book posts and no one replies? Welcome to the board! Dana

I have very fond memories of reading Catcher in the back seat of a car (amazingly I don't remember what) with two sisters from Turtleford, SK, one of whom insisted on mispronouncing "Phoebie". If I remeber right Catcher has a passage about a piano player who's lost his touch, any idea who he may have had in mind?

What no 'Rocket' Richard?!!

loved his rendition of Hendrix's "Fire", 'not as Muddy would've done it but as the guy demoing it for Muddy would've...'

that's not a v. nice thing to say 'bout his wife!

My veiw is that the influence of jazz on other genres is impossible to ignore but easy to overstate. In other words, yes much soul (and rock and...) was played by session players who would rather been doing some 2nd rate Charlie Parker imitation but we're all lucky commercial pressures made them do something else/more. Some session guys clearly had more or less of a jazz background (I think you can find examples of both at Motown) and some really did not (steve Cropper for instance seens to have drawn on Pops Staples and Lowman Pauling without much if any insterest in jazz, unless Booker T showed it to him). this topic might have done better with a different title...

Allen, You ever consider playing a C-melody? Vintage Conns, Beuschers, etc. can still be had quite resonably and 20-30 years ago they could be had for next to nothing (I bought a playable, if just barely, ing for $50 twent-five years ago, more for a Conn recently). There's even a guy from NZ having 'em made in China now (haven't played or even seen one of these). D

I, too, remember liking this much more than Orgy In Rhythm or Holiday for Skins, but those are much better titles than Drums Around the Corner which kinda pales in comparison...