danasgoodstuff

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...

I used to think that Aretha on Atlantic (especially the first 3-4 Atlantic LPs) was who she really was/what she was all about/whatever reductionist formulation you like. Now I'm not so sure. It's not so simple in theory (any actual living being is more complex than that) and Aretha especially is not that simple in practise. If those first few Atlantics are REALLY anyone, the're Jerry Wexler and Roger Hawkins and Spooner Oldham and Tommy Cogbill and Chips Moman - their vision of what Aretha should've been doing. Aretha herself was in there, but I've come to the conclusion that her vision was less focussed on funk. She was and is a deeply soulful singer but I think she also wanted to be, and sing, pretty. so for me, at this point, if any single album could be said to represent the rel aretha, or as much as possible, it would be the extravagently expansive Young gifted & Black (and singles from those sessions). I have one collection of the Columbias, Aretha Sings the Blues, which I like, especially "Drinking Again" & "Nobody Knows the Way I Feel This Morning". she certainly shares dinah Washington's I-can-sing-anything (and mae it mine) audacity, but I their emotional stance is different in wasys I feel inadaquat to describe.

Hey! I love Sidney Bechet, MLL, et al...and also think that post-revitalization BN is more than OK for what and when it was - a corporate stepchild in a bad time for jazz, realistically it's been better than I woulda guessed 25 years ago when they recessitated the corpse. Maybe I should start a new thread on BNs of the last 25, or did we do that already? I hope Ashley Khan's book on BN is better than the one On Impulse!

strippers...here in Ptld the're roughly 50 'dancer' bars, highest per capita in the world reputably.

Copied from the one track thread: Just a Little Loving by Shelby Lynne, the whole damn album! In an age when everyone feels compelled to oversing everything, a little subtlety goes along way and this is over/under the top with nuance and all good stuff like that. "Inspired by Dusty" - sound like someone singing along softly to themselves and bringing out evrything it meens to them. This is my new litmus test, if you don't get it don't even bother saying what you do like... I would only add that the accompianment (session guys I assume) is suitably spare and the whole (non)production strikes me as incredibly brave in an age of excess, best vocal album of the new century, IMHO!

...would that be "crappy" for electric piano, or "crappy" because it's an electric piano? If the former, I just don't hear it, if the latter it's your lose if you let the instrumentation get in the way of hearing music this wonderful. It's not like there's a rule saying you can't dig this and the records with Kenny Barron too. The instrumentation is part of the concept but irrelevent on a different level too (so I contrtadict myself, or at least seem to, I contain multitudes, so dfoes this music, so could you). Among the many wonderful things about it, it is, perhaps ironically, one of the last times you get to hear the early/old/young Tony Williams, even tough it's chronilogically after Lifetime it's stylistically before...

i forget to add my fav business theory - all businesses fail, it's just a question of when... and it really is possible ti see the whole world thru the prism (prison?) of your own particular brand of underwater basketweaving....

man, I gotta get me one of them bumper stickers - BAIL OUT STUDEBAKER! seriously, the disparity in profit or loss on the same total of sales is due the same stuff that brought down the pride of South Bend, old plant(s), high labor, large pensioners relative to current work force, and Studebaker had to deal with amortizing developement costs on production that struggled to make six figures and often failed...but it was that struggle that lead them to make cars I love, eg when the board pulled the plug on the main plant in Dec '63 they were making the fastest production car in the world, the R3 Avanti, all 9 of them! GM's efforts, given their still far greater resources, are less impressive. The difference is that Studebakers demise (not really, they just got the hell out of the car business and survived, saving the shareholders' shirts before being eaten up in mergers) only devasted South Bend, which they had effectively subsidised for decades...and yes, Stude people are still debating all this, as I'm sure the curent bailout will be controversial forever, whatever happens...

thanx, I'll have to look for that...

Just picked up a cut out ($5.99, no sales tax in OR) copy of this unissued at the time Contemporary (not any more!) date. A little raggedy in spots, but if you like mid-sized bands this is fine, not quite Passing Ships or Slice of the Top or Birth of the New Cool fine, but fine enuff. Why is it that there's never a mid-sized band catagory in jazz polls? It's a totally different beast than a sm combo or fullblown BIG band. And Teddy is/was ready! Dana, proud owner of a mid-sized Studebaker Cruiser (114" wheelbase, 188" overall)

Just a Little Loving by Shelby Lynne, the whole damn album! In an age when everyone feels compelled to oversing everything, a little subtlety goes along way and this is over/under the top with nuance and all good stuff like that. "Inspired by Dusty" - sound like someone singing along softly to themselves and bringing out evrything it meens to them. This is my new litmus test, if you don't get it don't even bother saying what you do like...

I've seen Keith only once, the American Quartet, a long time ago (obviously). It was magic. Never could find any records that quite got there, although many of them were quite good. Gave up looking awhile ago. Yes, I think he's psycho (for lack of a better word). No, it wouldn't stop me from buying any recording if I thought it was truly 'all that' (Cellar Dorr is truly all that, not that I bought for Keith particularly, but he does his part and more). Might make me think twice 'bout going to see him live...

I shoulda seen that coming...but I didn't, thanks for making me laugh.

Black is black I want my baby back Grey is grey Tristano is otay

Chauncy & Allen, Nice job of destroying the straw man country scarecrow that you think Frisell is trying to be, next time try listening to what he's actually doing 'cause you ain't touched it yet. He's not country 'cause he's not trying to be, it already exists, doing some tunes and using some stuffs ('devices', whatever) from that (anglo-celtic/Scots-Irish/rural & arid) doesn't make him a Country wannabe any more than Sonny R. playing "Some Enchanted Evening" makes him John Raitt. BF is to my ears the most original American musical voice of my listening adulthood (past several decades); his concerts, in particular one in duet with Joey Baron, have been consistently on the same high level of spontinaety and inspiration as the best I've heard from the Art Ensemble or Sun Ra. Sure he's had opportunity that Hank Garland/Jethro Burns/whomever never had, for all sorts of reasons which are worth discussing; but bashing BF won't change that. I knows pickin', you can eat it, Dana

Congrats, looking forward to hearing more from you...

Ever notice, he talks like a less weird version of Bill Cosby?

Would the world be different if Bloomfield had gone on to fame & (more) fortune (& complacency) and Clapton faded away, or would it be the same only different? My fav Bloomers moment is the "Hey!" about 30-40 sec's into SS - I like to think he's just been amazed and delighted with himself.

I'm not a Deadhead, in fact I've been known to say fairly rude things about them and their fans, BUT Live/Dead is an extra-ordinary recorded artifact by any measure...essentially one long jam but not too long and with a v. high level of intuitive group interaction. For this I can live with hippy lyrics and seak singing. It may spoil you for other work by them (there are other live sets that compare but not many) and probably won't be much like what the remnants play now.

Very straight ahead, maybe more so than even his earliest BNs, depending on where exactly you think the jazz straight and narrow is... Your enjoyment may depend on your taste for cooking on a lower flame. I liked it but haven't listened in quite some time, draw your own conclusions. Bought a vinyl copy not that long ago for not that much, but definitely one of ST's harder ones to find.

I beleive that chewy's original question was about intent rather than results, so regular BN releases that they got lucky on wouldn't count as "commercial" but only those where they did something diffewrent to try to sell more would, regardless of whether they were in fact successful. Whether this is a coherent Q or rests on false assumptions is another matter, or two... I have both Always Something There & The Look of Love on Applause CDs and enjoy them both, but the're not my favs.

Sorry to hear Bud's is closed, but it's hardly surprising...

When I got my mailer from the Fest it was folded in such a way that just the sax protuding from a tuft of hair was visable, kinda like...well, you get the picture.

I hope they take it easy on the hops for once, Rouge generally seems to operate on the theory that more hops is more better and It Ain't Nec'ly So! Overpriced as well as over hopped... but I'll ceertainly give it a try. We are spoiled for beer here in puddletown.

Yes, there are certain things that those writing about music 'professionally' (there's an archaic concept, soon to over, likewise 'positions of influence'), SHOULD KNOW...BUT that's neither necessary nor sufficient for them to be worthwhile as writers or human beings and CM & Clem are the living proof of that...