danasgoodstuff

FWIW, Way Out West and Goin' West are two of my very favorite things, both utterly masterful reworkings of unlikely material to suit their own purposes. They both work on many levels from simply sounds good to subtly shaded signifiers working as commentary on a whole range of concepts and culture. I honestly don't trust the opinions on American culture of any sort from those who don't get them. And, again FWIW, I heard Sonny play Hank Williams' "You Win Again" live more than once.

IIRC, mine is tightly edited so that while it's indexed as separate tracks, it plays like a suite. Think I'm good, thanx for the info.

It doesn't give a timing and breaks it into 19 separate tracks - I'm guessing about 30 minutes or so. Kind of a time lapse photo edit of the actual score.

I have a deluxe edition CD on RYKO that has a suite drawn from the actual soundtrack as a bonus, is this different?

I've played in public, and I can't do that. And don't try and don't care.

Thanks, it's getting better.

Happy to agree with you here. Great jazz players get inside melodies and then the solo/improv/rest of it comes from there. But what do I know, I can barely play.

Hutch is on the Big John Patton Let It Roll, which is lovely.

Loved his playing since he was in the Yardbirds, til now. Saw him in SK and MN long ago. Seriously bummed. Also found out today one of my ex-girlfriends died recently. Bad day.

Ying/yang? No Black Sabbath without a regular sabbath first, right?

I like this! I'd guess the chances of it getting reissued are pretty slim at this point.

Yes, sometimes. But not as much as I used to. Been listening to a lot of Red Garland solo and trio in the last year or two, sometimes exclusively or near exclusively.

1942–1944 musicians' strike - Wikipedia there's lots more that could be said about this, but this is the basics.

And on Stax, where it belonged.

I'm hit and miss on those comps 'cause to me they mix things I very much enjoy with things I really don't, but not everyone makes such fine distinctions, and I can definitely see them working in that sort of social context.

Heard them a lot on the CBC back in the day.

There's your holy grail recording right there.

Thom Bell wrote some gorgeous music, RIP.

Nice work, as always, your passion comes thru loud and clear. Still not my cuppa, but more palatable to me than DB's studio work with the Mizell Bros. I probably shouldn't, but I have to say that DB's attempts here and elsewhere to be something more than a very good post-bop trumpet player mostly make him something less. Not unlike Artie Shaw thinking he had something better to do than playing clarinet and bandleading, he didn't. That said, I love Byrd's two excursions into choral music - New Perspective and Trying to Get Home. Wonderfully quirky and totally his in a way the work with the Mizell Brothers just isn't for me, YMMV of course.

In part because they always had black acts on the underbill if they were the headliner. Bringing it, as always.

Got it from bandmate Gene Cornish's FB page, so I think it's real. https://www.youtube.com/watch?v=bhYwxRXu0nI&list=RDEwQOBjC3C0c&index=5 a small sample of the energy he brought to the stage

Yeah, I get that electric Ornette/Ulmer/RSJ isn't easy or for everyone. Not all of it works for me either. The Odyssey band worked for me because of the fiddle, RSJ because of the writing, and eventually Ornette's Prime Time players learned to not step on each other's toes.

Does he also say he hates organ records, but likes this one? Hackneyed writing to be sure, so much so that it's hard to take its other faults as seriously as they may deserve. He's not talking to Shirley there, he's addressing the (potential) purchaser who he no doubt assumed was male.

I would agree that the Decoding Society was one of the most happening bands in the '80s, but my favorites are from earlier in the decade, Mandance and Bar Be Que Dog. Did you include Ulmer's Odyssey?

I'd forgotten that one, very nice.