danasgoodstuff

He's also on Jimmy Smith's Open House/Plain Talk session (one session, two LPs on one CD) with Jackie McLean (an alto alto) and Ike Q (a tenor tenor). In my opion Blue had the best trumpet sound for organ dates even if he never used them on his own records...

I think he's on some recent Sonny Rollins, but I'd have to check later, or perhaps someone else here can confirm...

Or...how about the complete Ike Quebec singles, i.e. both 78 & 45 rpm, since this is a packaging that hasn't been done before and I think it would fit on 3 CDs(?)

I'm afraid I have to disagree about Meltzer--I've always found him to be a bit of a wanker (not that I think he'd deny it, but tthat's part of what I don't like), basically Bangs minus the soul. But I'll have to check out the new Bangs since Carburator Dung missed some of my favorite stuff.

I don't think the band 'gells' quite as well on Standards; and while the playing is certainly v. good on a moment to moment basis, it doesn't quite add up to a great album for me. Well worth getting but best approached without unrealistic expectations...

Anyone named Ian McDonald would presumably be Scots, not English.

I voted for "I Remeber Clifford" but my real fav is "Are You Real" which is not on the list.

JSngry: Yeah, you right 'bout that Chess New Orleans package, it's chock ful of the surreality that makes the Big Easy greasy. Check out Reggie Hall's "Joke" fer instance. But anyplace where you got to look up to see the ships go by is bound to be strange.

JSngry, I completely agree 'bout that tenor solo on the Chords "Sh-Boom"--I think the correct period lingo would be "it's gone!" How much would a person hafta pay you to get a transcription (in concert pitch please)? Your humble servant, Dana

I adore doo wop, maybe 'cause I don't sing much myself, but to me it's what love sounds like. I especially like soo wop renditions of standards, like the above mentioned Flamingos rendition of "I Only Have Eyes For You" and the (not yet mentioned) Belmonts version of "Where or When".

OK, I'll bite. Two albums come to mind: 1) Jerry Granelli(sp?) A Song I Thought I Heard Bolddy Bolden Sing(?) with Kenny Garett, Bill Frissell and others I'm ussually fine with also includes Robin Ford whose playing I usually find rather antoseptic, but here I dig him just fine; Time Berne's Julius Hemphill tribute (the name of which I'm forgetting) includes David Sanborn whose airbrushed playing doesn't normally do much for me either but he's just dandy in this context. I'm sure there's others too.

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?