danasgoodstuff

People In Sorrow is a freaking masterpiece, probably the best record I don't own. If that's a backhanded compliment...it's still a compliment, so THANK YOU CHUCK!

No, I think Garth used Lowery...

Garth Hudson of the Band also liked to tinker with his organs, not Hammonds, Wurlitzers? Also played other keyboards and seemed to have a different sound for nearly every tune.

"Tenor Madness", one cut on the album of the same title. I've never even heard of anything else, but I'm not much of a 'trader'...

You look like 'the Jimmy Page of the saxophone!'

Sunny, Spooky, Stormy: the '60s in a nutshell.

Saw Lil Rounds last night and maybe it was just the dress she ws wearing but that's got to be the most ironic name ever...haven't watched this year since the initial auditions and just was the recap last night, I too get tired of the judges...

I have this out from Mult Co Library (we're #1!) and have mixed feelings at best. It's obviously a labour of love, and it's worth documenting Funk as a ground up populist phenomena...BUT I feel like I'm listening to the same poor excuse for a song over and over, and this from someone who loves early Stax where the songwriting wasn't exactly stellar either. Something about Funk as a genre (as opposed to a quality all music should have) seems reified in a particularly bad way to me, although I feel pretty much the same and more about Metal and many other genres qua genres... Bottom line is I think I'd rather have just Rhino's History of Funk Vol 1/2 (one half), the Roots of Funk, and call it good.

Re Lefty I could go on & on 'bout what a great singer he was, even more so as time went on, 'bout how everything was right on the early records made in Dalla, 'bout gems like "no One to Talk to But the Blues" that even fans seem to overlook, BUT Lefty said it all in "That's the Way Love Goes"...

Gary Peacock & Elvis Costello?

I think there's also collaborative genius where the individuals on their own are merely alright but together (and only together) the're exploring/mapping the future, or whatever you want to call it. Examples? Tristano/Konitz/Marsh? Bill Monroe & Earl Scruggs? the 2nd Quintet? Maaybe I've just painted myself into a(n interesting) cornewr...?

having worked in two of the world's great record stores, the Electric Fetus in Mpls & music Millennium in Ptld, I will certainly miss them if they really all go away. And if they do, it will be because of rents as much as anything. I met many wonderful people, including my current wife, there...

I thought we were all geniuses in jazz, that's why I came here.

Mine: Art Ensemble - Nice Guys ("Drea MING of the MAS ters" is certainly singable...) Dave Holland - Conference of the Birds (not sure 'bout singable, but this is what he shoulda won all those awards for) neither is particularly typical ECM, Bright Size Life or DeJ Live with Lester B & John A would be closer that chimera

"I had to look up", think about it...

Fair 'nuf, the clips are lovely, nhot sure 'bout innocence - I mostly agree, but only mostly but don't have time to elucidate now. Marsh repeats the 'good/bad, but not evil' line often enough in his 1001 Singles book to be annoying, but he loves girls groups (and doo-sop, harmony of all sorts apparently). I did think the NPR interview with the Shangrilas' lead singer recently was slightly odd...

"Hmm...he's good-bad, but he's not evil" I'll assume that you meant to eccho the much maligned (here at Organissimo) Dave Marsh. One of the many ways he differs from standard 'classic rockism' is his ;huge appreciation for 'girl group' records... I've been meaning to post about why peopple hate Marsh so much, but that's another thread...

I just noticed that it's just U & I on the board at the moment, so how 'bout some dialog 'bout your namesake, or is that some sort of ab stract analogy that I'm not getting? For starters, do you think that Bix's partner in crime Trambauer was as good/significant/whatever - the general consesus seems to be no, but I think Pres would beg to differ...and yes, one of the reasons I dig Tram is 'cause I play C-melody too. Lokking forward to your response, Dana

Blue Chopsticks is, no doubt, wonderful - BUT, damn, that's one awful cover!

But I don't wanna go to the center of Ted's mind...

I'll take the Freddie Roach, will PM when I remember how...

He and Idris had a thang goin' on, so all of those, whether studio or live, are fine, as is Live at the Lighthouse as well. After BN you can safely skip. Also his sideman work with Rueben Wilson on BN and Houston Person, Charles Kynard, etc. is worthwhile. If you want a nice transitional album, the one with Don Patterson and Sonny Stitt is poised about halfway across the great divide, IMHO. For me '65 is not the cutoff, '66 is still 'early' as is Iron city, regardless of when it was actually recorded or who really plays on it - I mean they all really play, but who is it?

Bixie: As much as I have found many of your previous posts on politics and other subjects obnoxious and wrong-headed, I must say that I found your explanation above re Pops smiling persona to be fundamentally right-on and quite wonderful, Thank You. I loook forward to your thoughts on your namesake, and if we continue to disagree on other subjects that's life... Thanks again, Dana

Everyone knows Aretha grew up in church, and while it's certainly relevent to who she is as a singer and a person, thinking that's the whole story is exactly the kind of 'reductionism' I now reject. For me, the relative uncertainty of her singing when dealing with the big, bad world outside of church is exactly what makes her secular work more powerful to me than her straight gospel work, lovely as that is and no doubt part but only part of where she's coming from. It's also relevent here that I am most definately not a church person and often feel like a tourist listening to Aretha or anyone else sing straight gospel...

I agree, the Parkway Baby Face, Muddy, Little Walter trio version of R 'n T is it/really the blues/raw funk on a plate/whatever. The guys in Cream obviously thought so too since their version mimmicks the drums/harp/guitar/vocals (no bass) lineup...