danasgoodstuff

When I play it...

The first full length bio of da Wolf is due out soon, see www.howlinwolf.com for more details.

Ellington in the imitation of the Globe theater at the Shakespear festival in Ashland, OR circa '65 (I was outside when my dad walked up and asked if I wanted to go. Got most of their autographs, but quickly lost them. And Sun Ra several times in the '80s, including one truly magical performance at Reed College in Portland. I was in the truly amateur Reed Copllege Stage band, but that really doesn't count.

Getting back to Eric and his (Mr. to you) Johnson, i finally heard some excerpts t'other day and thought it was nice if no big deal. Not much on the flaming lead work, but in pretty much every other way (singing, the rest of the band's playing) an improvement on From the Cradle.

MF, Yes, "Nature Boy" is on Miles' Blue Moods album, and Teddy Charles is on that album. The version I was thinking of is actually on the Collectables album pictured above, originally on Atlantic. Perhaps my question was too ambiguitous... Oh well, many good version of this tune, with and without vibes.

He did a v. nice "Nature Boy", what album was that...?

Got mine done about 2 days ago. I guess I should thank W that the basic deduction for married filing jointly is now enuff ($9,500) that I don't have to itemize (what with a 'modest home' and a variable rate mortgage). I would've come out about the same, but it so much easier to just take the basic, and they can't argue...Of course, the state and local are a 'nother matter.

I think there may be (at least) two possible sources of confusion here: "certified" means there has to be documentation meeting a certain standard, I suspect that both Kind of Blue and Love Supreme have time periods during the last 40 years or so that can't be adequately documented; and sales in the USA vs. sales world wide. Either of these variables could result in widely varying figures, taken together it's like comparing v. big apples to v. small oranges, or vice versa.

Losing my $ in poker machines works pretty well to cut down on my CD purchasing, unfortunately...

I voted for cheesey, but I was thinking post-Roy Wood. ELO w/Wood is basically the Move, pt. II (III?), and the Move were a great band, IMHO. But as is always the case with cultists, once the band had changed to the point where the gen pop got interested, I got uninterested...

Ayler, Ghosts, done as an air to start, then as a jig. Always sounded celtic (and anthemic) to me...

Not to be snide or anything, but I think you just answered your own question...I think he was v. conscious of having his own sound and being his own man.

I remember quite prefering the alt. take of "Blind Man, Blind Man" on the HH box, it had a little extra bump in the bass...

Most daily papers also publish current exchange rates for those of us paranoid enough to want to do the calculations ourselves.

I, too, have long loved this album. Might have something to do with having paid $2 for my LP. And the "hey check this out" factor is good too. But ultimately it's just a groove to listen to. I am bummed, however, that the outtakes of "home On the Range" and "Old Cow Hand" weren't included. One of the things I really dig about GG is that it seems he was as much a fan as us.

Atlantic was struggling in the early '60s (after losing Ray Charles0 and a lot of stuff got delayed, Coltrane's The Avant Guarde fer instance. They may have waiting for a window of oppertunity where Stitt didn't have three other LPs out on other labels; could've been a much longer wait... I like this one, ironically enough to me it shows that Stitt isn't merely a Bird clone but has his own, similar but distinct, thing going on. Kinda feel the same way 'bout Bud Plays Bird and that took even longer to come out.

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?

Tjazz, You're right, I must have been thinking of the LPs for the Miles Prestige box, but he's still in first for my CD collection....

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...

If we only count CDs and not LPs, it must be Miles: Prestige box (15?), box w/Coltrane (4?), box w/Gil (6), Live at the Blackhawk (4), 2nd Quitet box (4?), In a Silent Way box (3), BB box (4), JJ box (5), etc. If you count LPs too, it's probably still Miles, but not nearly as decisively.

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?