danasgoodstuff

It's the MGs instrumental version of Dock of the Bay, which I found to be suitably somber and thus appropriate.

Half of these guys went to high school with Stewart's nephew Packy Axton, Booker lived in the neighborhood where the studio was, and the drummer was the only one who was a professional musician pre-Stax. Together they were the best session band ever IMHO, because they combined the professionalism necessary to that role with a visceral enthusiasm more typical of amateurs.

https://www.commercialappeal.com/story/entertainment/music/2022/12/06/jim-stewart-obituary-stax-records-rock-n-roll-hall-of-fame-memphis-music-history/69702156007/ After Blue Note, Stax is my next favorite label.

Somewhat surprised there's no core hard bop on the new list: no Lee, no Hank, no Blakey, no Horace. But we haven't seen next year's Tone Poets yet and there's plenty of fine music on the list. I have decent copies of everything but the 21st century stuff, and I'm not particularly interested in that. Over at the SHF there's a lot oc complaints about quality control on this series, I haven't bought any of these, but my 3 TP so far have been perfect.

An interesting question, KB did the all blues Midnight Blue and Jackie McLean Bluesnick, and there were a few tribute albums by others. I think it was mostly Grant's natural versatility and his relative weakness as a composer and he made a lot of albums for BN so there was both more opportunity and more need for this sort of thing.

If got a do over at life, I'd buy more Gene Ammons.

Have we discussed Gene Ammons Night Lights (a tribute to Nat Cole with Wynton Kelly in the band)? The few cuts I've heard are superb.

Thanks.

How would I know if a tune has been recorded less than 100 times, is there an easily accessible source for this info that can be trusted to be complete/accurate?

Does this date have Kenny Dorham tunes that were not recorded elsewhere?

Care to elaborate? 'Cause I'll take Farrell over most of those you might consider his contemporaries - Grossman, Leibman, Brecker, etc..

Jommy Woods, Conflict, recently picked u[ a cheap used CD of this fine session.

It does seem more likely now, but the merely 'unissued' rather than 'rejected' Grant Green session from 1970 seems even more likely, if it still exists.

I like this one, which puts him in a modernist context.

Can't say I agree with that, they have reissued avant leaning dates, pre-hard bop, post-hard bop, lots of different things. And lots of hard bop (however defined), but given how much of their rep rests on hard bop, I'm almost surprised they haven't done more.

I was thinking of the arrangements he did for Monk.

If there were new vinyl reissues, it might free up some used CD copies.

Oliver certainly did all kinds of interesting things. Even his one great failure is interesting.

I'd love to see BN do more with this era in the Tone Poet or Classics vinyl reissues series, but making it fit well can be awkward. Typical 4 song 78rpm era make a nice LP side if they were done for 12" 78s at 4+ minutes each, but not otherwise.

I've found that the things by Bechet that I like, I really really like - like Summertime which may be my favorite version of that tune. But that generally he seems awkwardly stuck between being a truly trad player who would play more nicely with others in a supporting role and being a truly modern player. I had a complete Bechet on BN and didn't keep it. I still have a fair bit of Sidney, but don't need it all. If anything, I generally enjoy Edmond Hall's work for the label more on a consistent basis.

Sask. Indigenous artist performing Grey Cup national anthem in 3 languages | CBC News That would be English, French, and Cree. Cree is the most widely spoken First Nations language in Canada with over 100,000 speakers who live all over the country. When I drove cab in SK, it was the language I heard most often other than English. I don't speak Cree and I'm not sure I could hear the difference between it and Dene or other aboriginal languages. As I recall, Cree and Lakota were strikingly different.

Sonny Rollins play Walking Round in Women's Under Where, before that it was Gene Ammons roasting Mel Torme's chestnuts.

Yes, but even solo can be a conversation with our expectations, etc.

I too like BN inside/out playing but that's more about the individual players than style. I tend to prefer that generation of avant guardians to later, when it actually was new. I do tend to like whoever's filling the bass role to be a base for others to build on, be that walking acoustic stand up, patterns on an electric, or a tuba or a bass sax. Jaco could play but it's low register lead to me quite often and something else has to be the foundation then, but if things hang down from an overhead exoskeleton or revolve around a center or ___, that's ok too and bands don't have to have a bass player per se. And I don't expect fundamentally different things from jazz than other music, I hear jazz as a commentary by example on other music. I want humanity in music, most of all.

passion, intelligence, in the moment responsiveness, cultural engagement, preferably all collective. These can take many forms. Don't necessarily need blues or swing or set roles or other familiar signposts, but they don't hurt and if the're not there then something should take their place, maybe.