danasgoodstuff

Is the above mentioned Walrath the one 'with two Willies'?

I enjoyed some Flip this weekend too. They didn't wast any $ on sets, did they?

I read on the web recently (sorry, I forget where) that Mr. Shepp's embachour probs are the result of the lingering effects of an operation of some sort. Anyone know anything more about this? As an amateur sax player it hurts my mouth to even think about this.

My 4th was relatively calm this year, but there have been times when you couldn't drive past my house or around the park at the end of the block. Too bad 'cause you can see the official display from the park but not from my house. My two year old skipped her nap, went to bed early and slept through the worst of it. Lot's of display firworks just a street or two over. Hosed the yard down as best I could in the afternoon but I'm surprised it doesn't 'cause more fires (as far as I know just one house burnt down last year).

Count me among the "totally stoked". I've been going through an intense Ayler thing in anticipation. I've even come to appreciate the 'with strings' bands/recordings, listened to the Impulse dbl Live in the Village the other night and it all made perfect sense, Even Sampson whose playing I'd previously had more trouble with than any of his regular sideman...(this is not an anti-violin thing, I love Charles Burnam, Stuff Smith, Billy Bang and all sorts of country fiddlers). Any recommendations on the best sound quality version of Spiritual Unity to tide me over? Also, anyone know of sheet music (tunes and/or solos); a sax teacher wrote out Ghosts for me, sometimes it's the only thing I feel like playing.

I think I prefer the alt of HH's "Blind Man" to the master, the extra twist in the bass line gives it more 'kick' IMHO.

I've got an idea for a little classroom exercise that might prove enlightening (or not). Pick two cuts from Bitches Brew: one that was pieced together from numerous bits in post-production ("Pharoh's Dance"? I don't have the box in front of me) and another that was one continuous 'real time' take. Don't tell them which is which, let them see if they can here a difference first, then tell them and see what they think. It may be a total nonissue to them and they might be surprised at the opinion of guys like Martin William's who thought that "In a Slinet Way/It's About That Time" was clearly an editing error.... The only drawback is that the tunes of this era are mostly so long that this would eat up a lot of class time. Whatcha think?

Perhaps I wasn't clear: it's not the folkness of the material that I have a prob with, it's Carmel et al's seeming need to make it 'hip'...I know this is not an attitude unique to this group or this material, but for some reason it bugs me more here. There are 'jazzed up' folk tunes that work perfectly well for me, e.g. Coltrane's "Greensleeves" or even Clifford Jordan's Leadbelly album, but this one doesn't. Carmel et al can certainly play, but I gotta wonder why they did this material. One of the things I like about guys like Ayler is that they (seemed to?) reject the whole notion of 'hipness'...but that's probably a rant for another thread.

I voted for Seven Steps just 'cause I already own all the others..., and the Complete Plugged Nickel and I want the Ayler Box, but if I see it cheap enuff I'll probably sucomb and buy 7 Steps too.

Am I the only one who had a prob with the treatment of folk material here? I found it condescending. But other than that, a fine collection of work.

I've finally got my hands on a copy of Moanin' at Midnight and am pleased to report that it looks pretty good and it does have a discography. Of course, it disagrees with evry other discography of Wolf on at least a few minor points, but this is Chess Records we're talking about so that's to be expected...

Now which one of our resident crumudgeons was it who said "Booker only has two solos, one fast and one slow"? There's some truth to that, but I don't care 'cause the're really good solos and, more importantly, the're his. (Kinda the way I feel about Muddy Waters, who really did only have one solo, but it was really great & his.) The rhythm section, with or without subs, consistently outplays him but that's OK w/me too.

Does this impact when the Cellar Door material will be out?

Brownie: Perhaps you thought/wrote "silver Salvation" under the influence of Williams Jennings Bryan's "Cross of Gold" speech? (I think it was recorded in a recreation by Bryon years later.)

Thanks

The Armstrong/Oliver recordings were done 'acoustically', i.e. without electricity, like a gramaphone in reverse. Then the masters were lost, so you're getting someone's beat up 78....So, yes, they all sound a lot worse than the Hot 5's & 7's. etc. But it's a miricle they survive at all (some in single known copies). Can't speak to which digitalizations are better or worse, but there's only so much you can do with the source material being what it is.

I can see/hear it now: nice tight Jackie O/Kennedy skirt, hair piled up on top, bored studio musicians swingin' lightly & politely, "I don't mind, another girl dancin' with my guy..."

Albert Ayler - various Lefty frizzell - complete (on Bear FAmily) Ray Charles - various Rolling Stones No. 2 - mono CD Beatles - antho 1 & BBC on tape Whadaya mean, I'm stuck in the past?! (Oops, whoulda put this in the other 'what are you listening to' thread, but SOME of it is on vinyl, some other I own both ways)

I've only heard parts of it, but in terms of style and quality this is kinda all over the map. At least they lead with Stanley T., one of the stronger tracks. And they miss 'real Blue Note' stuff like Lonnie Smith's "Elanore Rigby"... I guess it depends how much you like Beatles covers; not for Lon A. in any case.

I first heard this at my late uncle's place near Corvalis, OR years ago when it was fairly new. I think it was my ex-wife who dubbed it "rain music"; I'm not much for mood/programatic music generally, but this works for me, in part no doubt because of the personal associations. Don't have anything else much like it, don't play all the time, but I do like it.

GregK - um, yer right of course. Bev - The 'oo do, of course, have their 'power trio + singer' side, but they also have a side much closer to mid-period Kinks or Ogdens-periods Small Faces. And both they and the VU insisted on singing harmony (albiet ragged) at a time when many white rock bands were dispensing with it entirely, or more nearly so. VU could be loud/raw and rather monochromatic, but not always, and even then they were hardly typical hard rockers, at one point you could be fined for playing any blues-based cliches in that band. Not to say YOU WULL LIKE THEM, just something to consider... Clem - OK, Gene Clark, I'll have to check him out further, preferably w/out spending any $! And what did Dave Marsh do to anger you? He is, among other things, a huge fan of Stax in general and Sam & Dave in particular...

BFrank, You're aware, no doubt, that's there's lots more where that came from re the first two QMS albums? No such thing as too much Bo Diddley? Dana

Bev, In principle, I couldn't agree more that the hard/wild/raw/etc = good/'bad' equation is in need of questioning, if not outright fallacious. Some critics think so too, e.g. Dave Marsh, at least insofar as it applies to his liking for doo wop and girl groups. In practise, I find the Byrds to be 3 (pre-, Gram, post-) kinda interesting bands that don't quite add up. I've never owned a non-hits album, except Sweetheart, and don't have any great desire to - trolling through the library's copy of the box pretty much satisfied my curiousity. Love the hit singles (Marsh hates "So You Want to be a R 'n R Star" but that's his hangup), Dylan covers, and Miles' cover of "guinivere" but overall "precious" pretty much sums up my feelings (which is what it comes down to) about all eras. Townsend on the other hand was more deeply funcked up (don't we know now, and how could anyone have missed it?) in a way that translated into compelling music, not necessarily most so when at it's hardest (I love Sell Out, particularly "Tattoo"). That and they were more of a band (the original 4) whereas the Byrds (& CSNY & so many others) strike me as a bunch of wouldbe solo artists temporarily alligned in a marriage of convenience. Nonetheless, IN PRINCIPLE, you're right...

Clem, Perhaps I read too much into "skip Motown", etc., perhaps not. Other readers can judge for themselves. I have no personal thing for Motown. I just think that to understand R&B of any era you need to see the big picture and that Motown is an important part of that picture. i'm sure others are as tired of this exchange as I am by now... Hopefully, given the opportunity, we could find some music to enjoy together. dana

Clem, Thanks for saving me some work: your posts above pretty neatly illustrate just what I find so obnoxious and wrongheaded about reductionist purism as (mis)applied to R&B... couldn't have put it better myself. Hope you don't get so hip that no one can talk to you. Dana