danasgoodstuff

I love her name; I know I'm really shallow...

I agree Sonny Live in Japan is a nice one, we had a thread about it here awhile back, IIRC the CD has a couple of bonus cuts.

You never heard "Night Train" ?! It's...it's...the music grandma stripped to!

Nice to see something besides Saxophone Collossus reccommended, my fav of recent years is +3 and from back in the day I's go with Basin Street or +4 for the rapport with Clifford the the groupiness of Max's quintet, arguably the last 'real band' Sonny was in.

I'm as big a fan of Sonny R as anyone here, but I found the Denmark '68 recordings to be literally too much of a good thing - Sonny would start wailing on "four" or whatever and 20 minutes or so in I'd just drift off...

They should've thanked their lucky stars that Decca turned them down and that they ended up on EMI's subsidurary Parlaphone label with George Martin as producer, HE trusted/liked them and was willing and able to use his own considerable musical skills to further their vision(s).

I own a 1962 Studebaker and two c-melody saxophones from the '20s, but this is some wrongheaded BS. I'm sure the guy's a great blacksmith though.

I liked Rumba Para Monk when it was new but haven't listened to it in a long time... Bobby Broom Plays for Monk is on 'the short list', but that may not mean much any more.

Maybe "WTF" is what she was signing?

Chris T, Thanx muchly for the update on Westbrook & Blake, I should check this out but probably won't, entropy and all. Dana "What is the price of experience..."

it's not unusual to have with anyone...unleass you're a 'serious jazz player' apparently.

"Interesting ECM", that's the prob, the're always 'interesting', rarely exciting or funky or greasy or... I think the last one I got was that Scofiel/Goldings/Dej TW Lifetime trib thing (Trio somethingorother). That was otay. I cn dig shimmery if it's way good, lie Crystal Scilence. I'm sure there's some recent ECM I'd dig but I find myself less and less inclined to seek it out.

Between this and MJ's death, maybe the records companies will make some money this year, and spend it on really obscure jazz reissues...probably not!

I kinda like Highlife, "All My Trials" esp'ly, however wrongheaded the pop production values, keyboards particularly, may seem, he really puts his heart into it and the band grooves. Any thoughts on how much of the later albums success (guitar and Ask the Ages for example) is Laswell's doing. I saw him live around that period and it was pretty scattered...

"When you're lost in Juarez and it's Easter time too"?

And I'd say there's maybe 10-12 worthwhile things that have never been on domestic CD, and quite a few that haven't been widely available for a decade or more.

The Amazon CD-R thing happened this year didn't it?

For what it's worth, I think the Westbrook Blake is the best Jazz 'n Poetry ever, mostly 'cause Wm. Blake is such a great poet...

It just occured to me that the personal connection between Sinatra & Young may have been Sweets Edison who worked with both of them...

OK, let me take my run (or run my take) on this - there was some thing/non-thing about Armstrong/Parker/Monk/whoever that people dug. And some people said that it was 'cause they were "original". Which they kinda were, only there was a lot of other stuff that they were that 'original' didn't really get to and (on the back of that front?) there was also a lot of stuff that 'original' snuck in that didn't have nothing to do with A/P/M. So when people tried to get to and then move on from A/P/M, using 'original' as part of their mental roadmap threw 'em off course. Not everyone of course, Ornette listened to Parker in particular, heard what he heard, felt what he felt, and played what he played. To the limited extent that I can make any sense outta what he says verbally/in words, it's simply saying not to get hung up on words/concepts like 'original'. I know we've been avoiding particular examples, mostly, but I can't make any sense outta stuff like this without 'em. To tie into that other thread, maybe one of the reasons jazz needs to be 'saved' is 'cause too much of its audience and attempts to broaden same are hung up on achaic concepts like 'originallity' which is surely a red herring in an age when sampling is simply how music is done to them young 'uns... This seemed much better when it was still just in my head!

I wish I was hearing new stuff that was knocking me out, but I ain't....sometomes I hear new stuff that's close enuff for new to think that maybe it's out there, but no more than that, generally.

I guess I kinda sorta agree up to a point that "originality", etc. are kinda problematic concepts, but I don't have time to parse it all out right now, maybe I'll try later... I know how frustrating it is to post hoping for a response and be disappointed, so I'm not trying to be a smart ass either. Dana

"Somewhere there's music, how sweet the tune..."

No thanks, unless they have a category for overbearing wankers...

However, Chick Corea's "Trio Music" album on ECM does create a mutually exclusive situation. If you can dance or party to that album, you can dance and party to Gregorian chant. I respectfully disagree, at least as far as the Monk par of the album goes, which the part I listen to, totally dancable IIRC...thin I'll go listen, and dance, now.