danasgoodstuff

Lon/Jazzbo, For me Weird Nightmare was just trying too hard to be eclectic and 'interesting' and just generally too focused on Mingus the character (not that that's exactly uninteresting, but...) and not enough on Mingus the musician (not that you can totally seperate the two).

Don't see it on jazzmatazz any more, but it's easy to miss individual items there. Well worth searching out the vinyl, I love all of Wilner's stuff like this--Amacord Nina Rota, Stay Awake (Disney), Lost In the Stars (Kurt Weil)--up to but NOT including Weird Nightmare (Mingus).

He did a nice 'modern' session with Martial Solal (sp?) on piano, usually known as When a Soprano Meets a Piano; but I'm not sure if it's available on CD.

I think the Heptones are the most under appreciated (in 'the States' at least) group in reggae. "Book of Rules" from their generally fine Night Food album may be my fav reggae song ever. Disclaimer: I generally prefer the rock steady through classic reggae period(s) (late '60s to mid '70s) and don't care much for dub at all. Dancehall and other later styles I find pretty hit and miss...

The Stitt Mosaic is a good thing, but maybe too much (at once) of a good thing. I borrowed the library's copy and enjoyed it but haven't bought it, and not just because I'm broke. But I did buy the Lou Donaldson, so what do I know. The one pleasant surprise was how good Sonny could be on ballads. Not all the time, he often goes all formalist on them, but when he felt like it, you felt/liked it too! If I came into a windfall I guess it would be about in the middle of the list of stuffs I'd get from Mosaic...

I'm interested: clarinet, piano, drums. An hommage to Pee Wee Russell perhaps?

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?