danasgoodstuff

Well, I was going to pick Capt. Marvell for my AOW when and if I ever got to do one but now I'll have to pick something else. But I am certainly glad to see the positive response this fine album has gotten here. This is what my friend Charlie came back with when we turned him on to Kinda Blue back in college, shortly after Capt Marvel came out I'd guess. Surely the delay in releasing this must account for its not having a greater rep. And just as surely Sony/Columbia/whoever-the-hell-they-are-now should just go ahead and release whatever live stuffs they have. I've got the aforementioned Montreaux (mine's Polygram) (minus Airto, if memory serves) and Lotus (Vitous subbed for Clarke) live things - they rock but lack the texture that Williams + Airto gives CM. That and my preference for Stan G over Joe F (not that I don't like Joe...) makes this my fav over Return to Forever and Light as a Feather. That and my dislike of Scientology lyrics. But it's all good, and I'd include Joe F's Outback (w/Corea & Elvin) and Moon Germs (w/Herbie H, Stan C, and Jack DeJ) in that "all". To me calling this Fusion is pretty noninformative: it's not like Bitches Brew or later R to F, or whatever else you'd be lumping it in with. People like Heaney who just throw up their hands and close their ears at the mere mention of a Rhodes or an electric bass are missing out on some good stuffs here. I haven't gotten the current CD with its bonus cut yet, but it's on the short list...

I'd say that if you like Michael Sampson's role in the Village concerts, get more Ayler that he's on, say Live at Slugs or Lorraich/Paris, but if it's the dixieland on acid aspect that you dig, then Bells or Spirits Rejoice would be good choices. The F de M and Love Cry are also worthy but not all that much like the Village Concerts. By "early stuff" (that you don't like) do you mean the trio with Peacock and Murray or do you mean the records with various Scandinavians playing standards? The Holy Ghost box has lots of excellent performances by the band with Michael sampson in its various incarnations but it is a serious chunk of change...

I think it could be better than back in the day. Not will be, but could be if they stay sober and learn to co-operate...and write some new material so they won't be trapped into re-creating the past. although "Those Were the Days" would kinda make more sense now...

I'd like to do one sometime, have a couple of albums in mind....

Not sure if this was a new episode or a repeat but the other day I saw an amusing Everybody Loves Raymond where he and his brother were competing (as always) to do a better job of replacing their father's long lost LP collection. Ray got new CDs which dad refused to listen to and brother got garage sale LPs. Both jazz and vinyl were portrayed as the province of geezer cranks and in course of the show it came out that it was Robert not Ray who had destroyed dad's LPs 30+ years ago. I thought it was quite funny, in a painful sort of way, and thought otheres here might agree. At the end an LP of Webster is put on and dad drifts off to oblibvion.

"My telephone number is Cherry I-8-1-2" as sung ever so salaciously by Big Joe Turner. [i don't think we have a smilie that quote fits...]

Fortunately for my wallet, I didn't like his regular larger working band much. Definately dug the solo Monk and duets with Mal though...

I think Ayler shoulda been on this pole, don't know that I woulda voted for him but he was the most Albertian tenor ever...

Nice tangent guys, no really, but can we get this back on track? Still exploring the box, lot's of nice stuff, particulary dug the Live trio stuff from '64. Can't help thinking 'what if' and wishing things could've gone better for Al & Don, although it seems they played more gigs than I had been led to believe...course it doesn't say if or how much said gigs actually paid. Does any one know how extensive Coltrane's financial help to Albert was? Any further thoughts on the wealth of music? What about the new Live at the Foundation de Whosey Whatsy album currently featured on the ESP site, is this previously unissued? Music is the healing force of the universe, at least Albert's is, IMHO.

My first 'real' job was driving taxi cab in Saskatoon. Lots of great stories from that, but my favorite concerns my late brother, Ian, who also drove for Fast Freddie breifly. On his first day on the job he'd made sure he had a good new map on the dash. He knew where pretty much everything in S'toon was, but wasn't that great with names and numbers (dsylexic). So he gets his first , maybe second, fare of the night. Worker guy just getting off a construction job, no doubt heading to the bar. Guy gets in front (they did that in Saskatoon, no pansy barriers for us), looks around, looks down at this boots and realising that the're muddy, thoughtfully looks around for sonmething to wipe them off with so he won't get the cab muddy. Naturally he grabs Ian's new map, wipes his boots with it and throws it out the window! Being a newbie, Ian doesn't say a thing. Driving drunks around the great white north when you're 18 is assertiveness boot camp. I'll have to put more 'bout why I love Toon Towen in the Street Where You Live thread. Meter's running...Dana

I think I said it elsewhere, but I might as well add it here too - I saw this gig, and as good as the recording is, it doesn't do justice to the sound Lacy got live.

Marty, Larry, et al: Sorry to take so long to respond. It's not surprising that Artie dissed J. Dodds, but it doesn't really bother me. Shaw had strong opinions 'bout all sorts of things and a guy who played that well and then hung it up for 50 years (not just quit the business, but as I understand it, quit playing totally) has got issues. Nice that he likes Noone who Goodman also admired, funny since Shaw complained that Goodman thought it was all about playing the clarinet, missing the larger musical picture, much less the cultural one. It's like when you have two friends that don't particularly like each other; it's their prob, not mine. shaw also said some pretty strong things about Klezmer, but I don't let that stop me from enjoying it or him... Shaw certainly wouldn't have been as nice about my playing as Perry R. was but that doesn't mean that Perry can't play... Eliptically, Dana

What I think 'bout Braxton is this: I think I'd need to clone myself and have one of me study him fulltime to have an even half way informed opinion. And that he really must have something against getting any airplay with those darn unpronoucable tune titles! Pie R squared? Pie are not square, pie are round!

Xmas list, fer sure.

Dolphy, but not as much as his versions of "It's Magic" or "They All Laughed"

I believe that Strayhorn actively dis-liked Nat's rendition, at least in part because he garbles the lyrics...any confirmation on this? My fav, Coltrane, the instrumental, I hear the lyrics just fine in my head without anyone singing them.

Got it (79.49 at Borders on the Educater Card 25% off sale, no sales tax). Read most of the book, listened to disc one and parts of others. Damn nice. Can't believe there's still unissued stuffs out there after this. LeRoi Jones is...um, well it does give you the flavour of the times. Has any one heard the other tune ("Tune Q") that was on early editions of Spiritual Unity? All the confusion re tunes/names can't have helped...not that he'd have been a best seller without it, but still... And I'm dying to hear what the unissued Don Ayler album done for Jihad sounded like, and not just 'cause I identify with Don since I too lost my brother a long time ago and struggled with it (not, thankfully, to the same extent).

Just turned 50 on Oct 4th

Live @ the VV: Trane, Sonny, Bill Evans, Art Pepper, etc. Maybe it should be a national monument? Ellington @ Fargo Goodman @ Carnegie Hall Clifford Brown Beginning & End (the End part, even if it wasn't quite) Albert Ayler Prophesey, etc. (over Spiritual Unity) Miles @ the Plugged Nickel (but I'd love to hear > of '67) Monk Big Band & Quartet Mingus @ Antibes Parker Summit Meeting @ Birdland w/Diz, Bud & Roy H, over Massey Hall non jazz: Dylan at the Royal Albert (sic) Costello @ the El Mocombo Allman Bros @ Fillmore Jimi all over the place, 'cause he was all over the place live, running hot and cold from tune to tune but when he was on... James Brown at the Apollo (Oct '62) Ray Charles in Atlanta on Atlantic Howlin' Wolf in Cambridge (piss poor sound, but stomping...) the Band Rock of Ages, over Last Waltz by a mile

Amongst the currently active I gotta go with Perry Robinson, and not just 'cause he's the only one I've played with. But he did sound damn good when I was standing elbow to elbow with him getting blown off the stage! Heck of a nice guy too. If living is the test, Artie Shaw. All time? Sidney B, Johnny Dodds & Pee Wee are all up there for me, John Carter too.

We're on again this Wed. Don't think Perry will be there but I will, along with Vibra Stan and Jackie from Smegma and all the usual suspects. Be there, be square.

Clarinets (cylinders) overblow not at the octave like saxes (cones) but at the 12th (next harmonic, right?). That's why their fingering changes from one register to the other making them more complicated than saxes but able to cover a greater range (again, I think that's right, I play sax and have only held a clarinet for a few minutes). One of the things that false or alternate fingerings can allow you to do on a wind instrument is to sidestep the tempered scale cunumdrum and play perfectly in tune in all keys, or however 'imperfectly' you chose at any given point...if your ear and your technique are good enuff. I'm far short on both counts. I use three fingerings for b flat on a regular basis, but v. rarely much else.

My criteria for rock boxes is a little different. If it's a single artist box, then IMHO the basic rule is that you should be able to just buy the box and forget it - that should be all you really need. The Velevet Underground and Cream boxes, as different as they are, both meet this criteria - you could certainly live with just that, even though I can think of things which would have made them even better. I think the Faces box comes close, but I'd have to get all the original albums (aand some boots) to be sure and that kinda defeats the purpose. Of course, those bands all had relatively short lives, bands like the Stones would be hard to do properly in a managably consise box, although I'm sure that once Allen Klein dies we'll see one or more. Klein has of course kept Sam Cooke from being fully boxed, although the last attempt that included all of Nightbeat and Live @ the Harlem Sq. Club was v. good. The Who nd the Band should be possible to do in 4 CDs but so far the attempts have fallen far short. I've read that Robbie Robertson is working on another attempt at a Band box; it'll only work if they include some stuff with Hawkins and Dylan. Speaking of Bob, I have the Ten of Swords box, 10 LPs all at the time officially unissued from the beginning through Live at the Albert Hall (sic). Very nice even if it fails my test as set forth above. For genre boxes, I'm v. fond of Rhino's Doo Wop boxes, at least the first two, III is a little spotty. I was going to include a long tangental rant on the centrality of Doo Wop to R 'n R, but I'll save it for another thread. I enjoyed hearing both Nuggets boxes but don't feel any need to own them. Wouldn't mind hearing the Rhino Surf box, suffered through the Rhino Punk/New Wave box. I got all five Rhino Instrumental Rock CDs in a cardboard 'box' for $18 - not a perfect set but well worth it at that price. I don't think anyone has discussed label boxes here: I like the Stax Singles boxes (esp'ly the first), and the Jewell/Paula, Swingtime, Sun, Specialty, King, and Fire/Fury. A good overview of RPM/Kent still needs to be done; BB King's work for them has been given the royal treatment by Ace, UK. Chess has many interesting boxes on individual artists and various concepts, but most of them only add to the confusion in the end. I'd like to see boxes of their main artist that simply compile everything that was initially issued on singles, yes their are Muddy Waters singels that have still never been on US albums. Maybe next time we switch formats this will get done.

OK. I geuss y'all tired of hearing 'bout this by now, but I forgot the funniest part of my recent brush with (semi-)fame. I was sitting at the bar with my horn between sets (no, I don't let it out of my sight) when a patron came up and asked if I was form NY! Apparently he'd heard someone was and just couldn't figure out who. No, I didn't lead him on, although that could've been fun...

The thing that strikes me about the unopened records story is that these were 78s not LPs, i.e. they wouldn't have been shrinkwrapped so you couldn't tell for sure if they had been out of their covers or not. In other words, this story doesn't even make sense to me. I like Bix, to me the sad thing is that he doersn't need to be romanicized, what's really there in his music and life is more than interesting enough. As a C-melody player I, of course, like Tram too!