danasgoodstuff

I would catagorize my music collection as really excellent, obviously compiled by a man of exquisite tatste if not wealth... Seriously, the LPs are all together, alphabetical by artist, chronilogical within artist, except where I split the studio and live (Charlie Parker may be the only one I do this way, Jazz @ Massey Hall is Live Parker on my shelves), and various artists after Z. The LPs are on a mix of home built and store bought wooden bookshelves around the perimeter of my music room (the former garage, refinished at great expense). Conversely, the CDs are broken into catagories and scattered around the room on various storage devices according to the available space; kinda the way we do things at the library... Jazz CDs are on the aforementioned bookshelves, pop/rock on one side of a spinner, R&B on the other side, blues on a wood rack on the wall, C&W in a wire rack standing on the floor, etc. Mosaics have a special space in the entertainment center housing my stereo equipment, as do unsorted 45s, James Brown CDs, and other odds and ends. As I run out of space I find myself inventing catagories like Things From Memphis (Stax & Hi) and Art Pepper CDs which get their own wood crates. I've got neat little drawers for K-7s but haven't finished putting them away. And, of course, lots of piles of stuff 'to listen to' sitting on the floor and on top of file cabinets, etc. And my wife calls it "a mess"!?!

Now I really will have to find and post my Hank Mobley poem, along with something by my brother Sam a far better writer than I. Maybe in a seperate thread.

OK, I got another Q related to the ones above. I have some CD labelling soft ware which I haven't loaded yet and am wondering if in the meantime I can write a little something right on the top side of the discs or if I should stick blank labels on 'em and write on that?

Besides, now that he's got two Living Dolls he's probably too busy, if you know what I mean...

I really like Brown Sugar and at least kinda like Am I Blue and think Joe adapts himself well to both situations, like a sideman oughta! In fact I may actually prefer his sideman work to his leader dates in this time period. The Real McCoy and Basra come immediately to mind in this connection. And I think I know what the Joe detractors in that other thread were talking 'bout and sorta agree up to a point, but I still concur with the point of this thread that Joe was remarkably consistant (even while being flexible for the sake of situation) in da '60s...

Thsi is a fine album, but I still think it's the least interesting of Tee-Nah's leader dates, largely because it's the most generically Blue Note. (If Alfred had chosen to spell Harold Floyd Brook's nickname phonetically, would it have helped his career?) Not that that's a bad thing, it's just that the other three show a more distinctive musical personality at work. This is good, v. good even, but the other three are GREAT!

I saw Dewey with Keith J's "American Quartet" and thought he played wonderfully. None of the many recordings comes close. Failure to capture his sound is part of it (as it is for many horn players, see Steve Lacy) but not all of it.

On the last one (my first) I guess I was embarrassed that I only recognized two tunes and no performers. Still I intended to post more than my one paltry comment but got distracted at/by work. I'll try to do better. Oh NOW you say participate at all...

Solomon Burke also did "Maggie's Farm", originally as a non-album B-side for Atlantic in the '60s but it's more recently shown up on various compilations. Besides Jimi, my favorite Dylan coverors are the Band, who completely understand what the're doing since they co-wrote some and worked with the man himself, and the Hollies who understood none of it so they just played and sang it as best they could. Oh, and Elvis P. also did a pretty mean "Don't Think Twice" but my understanding is that Dylan shouldn't [can't believe I left the "n't" out!] really take full credit for that one.

"Hold On, I'm Coming" is also on the CD of Love Bug as a bonus cut, but as far as I know "My Cherie Amour" remains "rejected" and therfore unissued, as indicated above.

OK, emboldened by this thread, among other things, I finally burned my first CDR the other day using Music Match. (All the as played versions of "Go Ahead John" from the complete Jack Johnson box plus the final mix from Big Fun) It plays fine but doing it was incredibly slow, even if you don't count the time I spent reading the help screens and the fact that it did it twice, once in Test mode and them again for real. I noticed that Real Player keep butting in so I gave it a try and it was at least quicker and I was able to correct the fact that Music Match had reordered the "Playlist" on its own so "Go Ahead John 1A" came after "Go Ahead John !" (which I'd actually typoed as "Go Ahead John!"). As I understand it these are both compressed, i.e. not as good as/not exact copies of the originals. Can I make direct digital copies with either of these softwares, or with Roxio____ which I also have (I think my wife downloaded that )? Or should I bite the bullit and get something else? I'm not trying to make professional level stuff here, just car copies for my own amusement and, of course the Organissimo Blindfold Test when it's my turn. Thanks for any/all input...

i remember going to the museum in Buffalo when I was v. young to see WEyeth and Calder. Skating close by as I recall. I've also enjoyed the D'Orsay and Orangier (sp?, floor to ceiling Monet water lillies) in Paris. Remington and Russell (yee-haw!) here in Portland. Group of Seven (8, 9, whatever, eh?) in Vancouver, BC. A great exhibit of impressionism owned by various midwest museums in Mpls (not the Walker, the other one). And, of course, Joni at the Mendal in Saskatoon and various First Nations Artists in North Battleford. So I guess my point is, by all means see The Great Museums of The World when and if you get the chance, but great artistic experiences can be had (almost?) anywhere, including your nearest music listening device...

On the more pedestrian tip, is Braxton's tristano/Konitz/Marsh tribute still available (and worth getting)?

Am I the only one who thought Round Midnight a pretty good movie but Dance of the Infidells NOT a v. good book? In part that's because books and movies are two different things; romaticism and subjectivity are more tolerable in the former than the latter. And in part because so much of the good stuff in both was things that realy happened (to Bud, Lester or whomever) for which FP can take no credit. I found FP hovering presence in the book to be insufferable and his partisanship whereby everything Bud did was great even (esp'ly) when it obviously wasn't, to be not just not objective but almost unintelligible...OK, he picked my butt. Dexter lived the life, FP is a groupie. Guess I should quit before I get carried away...

Maybe it was a typo for "warmed log"????????

I voted for Sonny, but I would've voted for Bud if he'd been on the list: Our Man In Paris is by far my favorite Dexter, one of my fav LPs ever. I know they had to do familiar material as a concession to Bud and it's basically just a jam, but they were so 'on' that day it hardly matters. It just radiates joy in a way precious few modern jazz recordings do (Sonny Rollins G-Man anyone?). Didn't someone else talk about the joy in Bud's playing in another thread recently?

Jazz Fugues? No thanks.... Jazz frug? Right on! [This is where I would insert a cute little animation of a Hulabaloo/Shindig style dancer shakin' her fringe, if I only knew how to do that...]

I'd like to sign up for the next available slot...

Thanks Harold!

IMHO, I repeat IMHO, Cassandra Wilson singing "Last Train to Clarksville" (or Muddy or whatever...) is more/better jazz than Diana (makes my skin) Krall (or whoever) singing standards...but that's IMHO...

As always at Rolling Stone, this list is in effect, if not nec'ly intent, 500 Albums Our Readers Will Be Flattered We Think are Hip... Most of the complaints on their web site (OK, I only sampled the large response) show the readers tastes to be, if anything, worse than the rag's...

Does anyone hear know anything about this bassist who pops up and gets down on so many Blue Note Rare Groove sessions? I assume he had an R&B/Soul background, but I haven't run across his name on any higher profile gigs in that arena, so where did he come from/go to? any help...thanks.

Don Gibson, writer of "I Can't Stop Loving You" (a hit for Ray Charles, inter alia)and a C&W star in his own right, passed away at 75. I confirmed with a Google seach and the first thing up was a discussion from the bulletin board at a Nevada Brothels site...anyway a fine writer and singer and, sadly, a v. heavy drinker back in the day. RIP

So many records, so little time...but my biggest fav this year so far: Miles Davis, Complete Jack Johnson Sessions It's old, it's new, it's wack, it's blue. Just been chewing up my little available listening time. And Johnny McL shoulda got co-leader credit (he kinda does in the notes). I especially like the bit where Miles plays something that sounds suspiciously like "Hang On Sloppy" and Airto answers him on kazoo...

My only advice is don't second guess yourself: read carefully and go with your first answer. Worked for me - 90+ percentile SAT & LSAT, now if only that meant something in the real world! And remember, no matter what it can't be as bad as the multi-state bar exam, truly the test from hell. And no test will ever be as bad as what they make those poor medical interns/residents go through: 100+ hour weeks, and then you end up with your hand in some poor kids chest and his blood in your shoes as he bleeds out on the table (happened to my ex, an ex in no small part due to the intern/resident experience). My, hasn't this post taken a turn for the worse? Oh well, good luck!