danasgoodstuff

The source I looked at wasn't clear on the use of recitative v. spoken dialogue in the original (1935) Broadway production. But since that was a relatively short run, the more successful 1941 use of spoken dialogue seemed to have more of an impact that has only relatively recently been replaced by a return to Gerge & Ira's 'original intent'. Personally, I think they should drop the 'blacks only' requirement and let peoples do it any old way they feel like, but that's a whole 'nother can of worms...

I don't have my copy in front of me, but I believe that Pete Brown is also the sole sax on Champion Jack Dupree's most excellent Blues From the Gutter (Atlantic). I think that Konitz and Desmond are only superficially similar; on the other hand I hear Trumbauer in both of them but then I would wouldn't I....

Finally got myself a copy of this the other month. It is indeed as fine as everyone here says, BUT am I the only one who thinks the mix is still (post-fix) kinda screwy?

OK, I looked around a bit and what I found out is this: George originally (1935)conceived of it as a proper opera with recitative, but it has often been performed with all or some of that cut and spoken dialogue instead (the 1941 stage version that was it's first success and the film version with Sidney P.). In fact I think it wasn't done in full score by an Opera company til the '70s.

medjuck, I'm not sure about the history of using/not using the recitative in P&B, if I have a chance I'll poke around on the web and see what I can find out.

OK, let me try this again (I tried posting a shile ago and wipped it out somehow). I, too, really dig P & B. I think the music's beautiful and the story moving; people who take issue with it are doing so for reasons that have little, if anything, to do with the work itself. I love Miles & Gil's interp and Bechet's "Summertime". The fact that "Summertime" in particular has supported so many widely varying versions is evidence of it's strenght as a work. I also have the 'cast' recording pictured above by Jazzbo/Lon. Quite good in a v. 'as intended' by George sort of way. At 3 LPs it has the full score, including the recitative (the sung narative that makes it an Opera, not 'merely' a musical). At $2.00 it was quite a deal too! I would've loved to have heard the Atlantic Records roster of the '60s have a go at it: Aretha as Bess, Otis as Porgy and the Wicked Picket as Sporting Life. Makes more sense to me than the Wiz, but what do I know...

Sorry Byrds fans but I have a point of order: weren't they really 2 or 3 (or more) rather different bands? Basically, before, during and after Gram Parsons. All v. good/interesting bands, but not at all really the same animal...What say you?

You should be able to do it for $20 or less, unless your cartridge requires something exotic...

Recovering completist, having hit the point of sharply diminishing returns with the following: Miles, Hank M., Lee Morgan, Blue Note generally, Van Morrison, stones, Beatles, Otis Redding & early Stax generally, sonny R., Dylan, the Band, etc.

I paid $20-25 for this a year or two back and now here it comes. Passed on a copy of the dbl. LP Houston Person live at the Club Mozambicque (what's it actually called?) for $50 at a record convention the other week, which pretty much guarantees it'll never come out... Whatever, Soul Sisters is nice, if not quite great, and it's nice to see it out again.

Brandon & BFrank: Thanx muchly for the secounds re the MGs. I think, ironically enuff, that one of the things that made their excellence as a backing band really stand out was the lack of quality songwriting at Stax, esp'ly early one. That and the naively straightforward production meant that the groove had to carry the records. But unlike James Brown post-Brand New Bag, they were still doing songs, naratives with melodies however simple they might be. That and they were willing to try anything, cover tunes, odd ideas for originals, weird production touches, etc. It may seem condescending to prefer R&B or R 'n R in their 'naive' stages, but I suppose that's just frustration with their never being able to get past their sophmoric phases to really live up to their promise/pretense, IMHO. (So no, unlike many here, I'm not much of a prog fan.) I even have decidedly mixed feelings re later Stax, although I'm happy to grant the excellence of the Bar Kays mk.II and other 'finger snap era' session players. Maybe we should have a seperate poll for best session/studio band?

That Collectablies thing that was coupled with Flashpoint, had some nice stuffs: lots of 12" mixes (but not "Under Cover") and lots of blues jams from 45rpm B-sides. No doubt it'll all (or mostly) show up again when they do a career long multi CD box.

Hey, where's Thinking of Home?! I voted for Caddy For Daddy since it was the first one I owned and lead to all the rest. Also quite found of Slice of the Top and ?Soul Station.

BruceH, I've read at least a couple of things where Cropper mentions how much he dug Pauling. King albums in general had an interesting look...I've seen some of the 5 Royales.

BruceH, Yeas, that's it...thanks for filling in my sketchy memory here, i think I only read this at the newstand! (wearing a tie helps to give you more time to do this...) Lowman Paulings guitar is 'da shit' (can't think of a better term right now!) and was a big influence on Steve Cropper.

The MGs/Mar-Keys/Stax house band. OK, I know that this stretches some peoples idea of 'rock', not to mention 'band', but stretching is good for you! I know the Funk Brothers/Motown house band had far more hits (backing voclists), more than all of the bands on this poll combined probably; but for my money the MGs had the perfect combination of studio band competence/versatility and garage band enthusiasm. If I were to set limits on who qualifies as a '60s rock band' it would be that they had to at least start in the AM radio/3 minute single era. If the MGs are ghettoized to a different catagory, then my choice would be the Band, if I can include their work with Dylan in the computation.

Paul, "The Slummer, the Slum" is indeed a fine record, "Sometimes I feel like messing up!", but the chorus always sounds like "da stompy da stomp" to me. Did you ever read the chapter in some rock history book where the writer just made up an elaborate history of the group in their declining years, simply 'cause he couldn't find anything? Strangely, it turned out to be not too far from the truth...

I voted for Let It Bleed, although I would vote for Ya Ya's as the best OFFICIAL live album. Let It Bleed shows just how good Keith can be when he's sober, or at least not too wasted. He had to be 'cause he does virtually all the guitar here, including the two or three parts on the intro to "Gimme Shelter". Speaking of which did you know that Merry Clayton sang the first verse (chorus? confusing use of these terms would be a good subject for a thread), blew everyone's minds and then re-negotiated her fee before agreeing to sing the rest?! My fav bit is Charlie turning the beat around ever so smoothly in "Midnight Rambler" (reputedly recorded during the BB sessions). Generally I think BB thru Exiles is a hell of a run and after that things get spotty but at least intermittantly rewarding as long as Ian Stewart was alive (Dirty Work). My personal rule of thumb is Ian Stewart + harmonica = good album. Fans of Brian Jones era Stones as a R&B covers band should check out a boot called Bright Lights, Big City with lots of Bo Diddley, Jimmy Reed, etc. Has anyone heard if the Stones BBC material is going to be released? (Or the Mayall, or the Jeff Beck?) My fav tracks are often ones not much talked about "I Can't Be Satisfied", "Empty Heart", "2120 So. Michigan Ave.", "Miss Amanda Jones" (duelling guitars!), "Going Home" (vocal improv), etc. Also love Sonny's work on Tatoo You.

"Library Assistant" for the Peoples Republic of Multnomah County.

Ooops! I checked several serial number lists for Buescher on the web and they all say 1923, so what do I know!

OK, so I went and played it yesterday and it wasn't all that. It was shiny and generally in nice shape but it just didn't feel as solid as my Conn or King. It's serial # is 133370, I'll have to see if I can find a ref for Buescher, but I suspect it's 30s or later 'cause the keywork is more modern than the '20s horns I've played. So I think I'll pass. If anyone else is interested it's at The Music House at approximately 60th & NE Glisan in Portland, they have web site which a Google search should find pretty easily. Thanx again for the input & letting think 'out loud' here.

The 5 Royales were indeed excellent, and unusual on several levels. Lead by bass singer and guitarist Lowman Pauling, his writing made them more self-contained and less subject to managerial and record company whim than most vocal groups. They also showd a stronger gospel slant than most '50s vocal groups, making their records sound more modern to ears used to '60s soul. One of my favorites among the performances not included in the above mentioned and nonetheless excellent 2 CD set is "I'm With You", cut late in their career (circa 1960?) and without Lowman where pretty much all they sing is "I just want to tell you darling, I'm with you, I'm with you all the way", first one singer then the other. Sam & Dave covered it but didn't manage to reach the same level of fervor.

I have all the BN John Patton except Oh Baby! (Obviously, I agree with the premise of this thread.) What is the best sounding edition of that album?

Rounds these parts, the good cheddar is Tillamook, from the Oregon coast. Cheap (relatively) here, no doubt not cheap in RI.

There is nothing inherently wrong with c-melodies--all other things being equal a Conn, King, Buescher or other name brand professional model C should play as well as the same make/model tenor or alto of the same vintage. BUT we are talking about horns made in the 1920s (mostly) so you have a lot of wear and tear to take into account, not to mention the effects on intonation of using modern alto or tenor mouthpieces (vintage mouthpieces are too 'stuffy' for most player's tates). Although prices have risen as demand rises to meet a set stock of old horns, they are still cheaper than comparable altos and tenors, even when mint, and aften way cheap when in need of major repairs (which can run far more than initial purchase price). The sticking point for me is that I have house repairs that need to be done but which I can't be sure of the cost depending on what they find re water damage so I don't really know if I can afford it. Not like that usually stops me from spending $! Oh, and thanks for the input everyone!