danasgoodstuff

I was out of town when this was AOW but I just wanted to add my vote to the HELL YEAH! column. It doesn't sound at all rote to me, but that may be in part due to its being one of, if not the first, Hank albums I owned (25+ years ago). I wish I'd kept that copy, a mono promo pressing! I do agree that Billy Higgins is/was especially "on" that day; there's a reason that Hank and Lee both used him for so many of their own albums! I also don't agree that boogaloo/funk/blues/whatever numbers are necessarily lesser efforts: if it was that easy everyone would do them and well. And, well, they don't... In the final (for now) analysis I'd have to say it's maybe not quite as nice as Soul station or Slice of the Top or Thinking of Home (wich I dig v. much), but it's probably my fav reg quintet Mobley and I definitely like it more than Dippin' (but may be I just need to listen to that one more).

There are so many: Lester, Ammons, Art Pepper, etc. were all masters. But my vote goes to an unlikely choice, King Curtis' "All the Way" from one of those otherwise rote soul jazz things on Prestige. No really, check it out...

Congratulations! Prepare to be tired, v. itred but happy!

So, I got Jelly's Blues for my dad who devowered (sp?) it. I eventually got through it and although it is a bit newspaperish and highly partisan, it was a worthwhile read. A better book might have been done on the battles between Morton's supporters and detractors and/or those claiming to be heirs (literal or otherwise), a sort of post-Morton (sic, very sic). Sudhalter does better close analysis of music but still the "third Reich" remark seems totally uncalled for. It seems odd that no one has recorded the newly rediscorvered late works by Jelly, it would seem a natural for Wynton/JLC, et al.

According to a stax records fan site (sorry I don't know how to do links but if you run "stax records" in google it's one of the first up) "the singer of the Rascals" (presumabley Felix?) is recording with Steve Cropper (this from an interview with Steve who also said he was working on a new MGs album). OK, I know I used too many parentheses, but it's interesting news nonetheless. I agree that the Rascals were a fine band, way more better than that other organ/no bass R'nR band, the Doors.

Been there, was going to do that but somehow just didn't get around to it...

Late, I hadn't heard that about Cranshaw being injured. I stand corrected. Thanx muchly and that'll learn me to speculate!

Roundsound, I think Cranshaw plays electric bass for the same reason Sonny uses a pickup on his sax: to make sure they are heard in one shot concerts in venues that they, in many cases, have never played before. Many places don't know how to mike an acoustic bass properly and the're hard to travel with too. Sonny's fondness for strolling while playing is another reason for his using a pickup. They could, of course, record one way and tour another, but I think doing both the same makes more sense.

Thanks to all, I think I'll try to find a copy of Jelly's Blues to look at first. "Oh, Mister Jelly" might be a bit much, but if I can find a copy I'll have a look at that too. I enjoyed Lost Chords, does anyone know what it was criticised for (other than just for being about dead white guys)?

In the liner notes to ___________(I forget which Mobley LP), I believe it was Larry Kart who pointed out that for Hank (and Lee, however different they may be otherwise), you have to listen to what the're doing IN RELATION TO the other players, especially the drummer (this explains why Hank and Lee each did so many in a row with Billy Higgins). I think that heightened, or perhaps misdirected, expectations may be at play here. finally I think that to some extent, appreciation of Hank may be blocked for younger listeners by a long-term cultural shift that tends to discount everything smooth/fluid. Making it sound easy isn't easy; guys like Hank struggled long and hard to get that SEEMINGLY easy flow. Not to make it sound like work or mandatory; hopefully it'll sneak up on you someday and you'll go "oh man, how could I not dig that!" If not, there's lots of other beauty to dig in the world.

When rock 'n roll became Rock I went along, but when Rock turned to RAWK I got off the train. I'll elaborate later when I get the time but I just wanted to pull this one up so it didn't get lost.

I was tempted to say 'son of sidewinder' BN stuff, but upon further reflection the aurel comfort food I reach for most often would be early to mid 50s Chess blues and early to mid 60s Stax soul. Both mono and lo fi; don't what that says about my ears. It may not be fancy but sometimes mac & cheese is just right.

My full given name is Dana Gray Scott, hence danasgoodstuff, a name I also thought might be good for a web site and/or bricks and motor store if I ever have one. I moved from "the States" to Canada with my parents in 1966, summer between 6th & 7th grade and I do remember some of that "American rebellion" stuff, but then we still had maps with India as part of the empire upon which the sun never set...

I believe it came out about a month ago and the author supposedly had access to some new info, but I really don't know much else about it? Thinking of getting it for my dad who is a huge Morton fan, any help?

32 Jazz did a CD best of that should still be easy to find even if it's technically OOP. I suspect that his piping doesn't meet Celtic purist's standards (he plays on the wrong side, among other sins, and is I believe entirely self taught). enjoyable stuff nonetheless, in a very '60s way (including his sax work). I met him once 12-13(?) years ago: best story was him being inspired to pick up the pipes after seeing President Kennedy's funeral on TV and practising in his apartment in Philly, much to his neighbors' annoyance. When the cops arrived to ask about the noise he'd tell 'em, "Do I look like I play bagpipes?" The cops would shrug, say no and go away, Rufus went back to practising.

I most be an overly tolerant soul 'cause I like pretty much all of the aforementioned disappointments just fine. OK, Out to Lunch is a little harsh, but I think that's the recording not the playing. And I know what y'all mean about overly high expectations: I'd loved Evolution and built up Some Other Stuff in my mind a little too much, I was disappointed at first but now it's fine on a moment to moment basis even if it still doesn't quite add up. I'm fine with Braith's diesal-racing-a-train-for-the-crossing tone. Undercurrent, Whistle Stop, OK by me. The only stuff on BN I really have prob's with are the Mizell productions, some of the stuff with voices, and George Lewis (love Sidney Bechet, Johnny Dodds is funky, but Lewis is an amatuer who just can't play in tune, and yes I know I should talk but...)

The experience music project can be a fun day, but you better count on spending the whole day--there's a lot of stuff, much of it interactive and there can be (or used to be at least) long lines on weekends. You can take a break for lunch at the Seattle Center. Parking and driving in this neighborhood can be a bear, but that's true of all Seattle.

Don Byron-Romance With the Unseen. Good record, (relatively) young "hip" guy, nice variety, what's not to like?

I had a letter published in the WIRE back when it was more of a jazz rag (1990?) instead of whatever the hell it is now. It was in response to an article that I felt unfairly pigeon-holed Blue Note as a one genre label....Also had a poem about Hank Mobley using his song titles published in a Brit lit. mag (FIRE I think it's called) more recently. Maybe I should move to the UK since they seem to appreciate me more over there?! Other than that it's been record reviews and such in local rags in Portland, Saskatoon and the Twin Cities off and on but not much lately.

Ray Charles, not just for bringing church and blues together, but for never forgetting it's about what's in your soul and that all peoples got soul even if some seems to get it out better/easier...

I have the library's copy of the Prestige box out and I must say they did a nice job. Good, representative music, coherent but not ovely lengthy notes with lots of short quotes from the various guys that worked there with only a couple of swipes at Blue Note who they obviously considered the main competition. It's the first time I've been at all clear on who worked there when. A better job than the overly long Blue Note box, IMHO. Or maybe I just don't know or care as much about Prestige. What say you?

I think it's a fine album if you want to know what the guys would've sounded like if they'd recorded for Prestige!

Speaking of Molsons, does anyone know if they still make their delectable Export Ale?

Count me in the NOT column re Mizell

Jazzmoose, If that's meant to be a Lefty Frizzell (who I love) reference (and/or allusion to Bill's Americana turn), it'd help if they spelled their names the same. As for Bill, I generally prefer his sidemen dates: News For LuLu, Bass Desires, Paul Motion, etc. Cf. Have a Little Faith, but since it's all covers it's like he's a sideman on his own album. None of his recordings have the telepathy I witnessed at a duet gig he and Joey Barron gave here a few years back. Those who think he just does one thing are sadly mistaken, but I do find myself wishing for a little less atmospherics, just sometimes...