danasgoodstuff

Willow is lovely, are there hidden gems in her catalog?

Depending on how restrictive your definition of the GAS is, Ann Ronell wrote Willow Weep For Me, but nothing else that's played much.

(12) Pharoah Sanders - Easy To Remember - YouTube ...but oh so hard to forget. Saw him just once as part of a tribute to Alice Coltrane here in PDX. Real stage presence. Oops, sorry 'bout the double post. I'll just add that Sanders could do all kinds of things with his sax, but much like James Earl Jones it must've been tempting when you can slip into that VOICE OF GOD thing anytime you want.

(12) Pharoah Sanders - Easy To Remember - YouTube ...but oh so hard to forget. Saw him just once as part of a tribute to Alice Coltrane here in PDX. Real stage presence.

Worth mentioning in this regard that Don Wilkerson's epic Preach Brother! has been reissued on vinyl in blue Note's more affordable Classics series. By far my favorite recording of his.

What would an expansion of this concept into more recent times look like?

Hopefully we can discuss some music we both enjoy in the not too distant future. And they were wrong about Tatum. And that has no bearing on Peterson. Every tub on its own bottom.

Solomon Ilori & His Afro-Drum Ensemble Donald Byrd, trumpet; Hubert Laws, flute, tenor sax; Bob Cranshaw, bass; Elvin Jones, drums; Chief Bey, Ladji Camara, Montego Joe as Roger Sanders, Sunny Morgan, percussion, vocal; Solomon Ilori, vocal; Coleridge Perkinson, director. Van Gelder Studio, Englewood Cliffs, NJ, October 30, 1964 1458 tk.4 Bamu Baamu L'ayo (I Have The Strength To Sing) Blue Note unissued 1459 tk.11 Toni Omo Re (Loving Your Child) - 1460 tk.17 Agbamurero (Rhino) - 1461 tk.25 Gbogbo Omo Ibile (Going Home) - 1462 tk.33 Igbesi Aiye (Song Of Praise To God) This is the Elvin Jones BN session I'd like to see issued in its entirety (contrary to what's above, 3/5 of it was issued as bonus tracks on the CD of Ilori's other BN leader date)

As far as I'm concerned, Deadheads and all other cultish fandoms are part of the decline of popular culture precisely because it tends to be so insular. It's a distorting lens through which to view the world. The band itself is fine mostly, and sometimes a fair bit better than just fine, but NOT the be all end all or even anything close. Nobody is, not the Beatles, not Bob, not Miles, not Blue Note to the exclusion of Prestige and everyone else, not nobody.

I honestly don't hear that, more like a compulsive need to prove something and fill space. I hear more joy in pretty much any name pianist you'd care to name.

Thank you.

This is pretty nice, I have a reissue but haven't listened for a while. Maybe it's next.

If I'm going to play a different Porter Songbook, it'll be Lee Wiley's (which is earlier than Ella's) or Bird's.

No doubt, but I've never heard a recording under his name that made me say 'I gotta get that',

Monk in Motian I have and enjoy. Great material, of course, great band plus great additions. Also have this trio + ringers doing a Bill Evans trib. But if I was going to reach for a Monk trib, there's a coupe I'd go for first before this one.

An interesting question, but I'm not so sure 'bout the rest of what's said here. OP had a kitsch side, as Do the Math said and my experience has always been (for decades and decades) that he is particularly beloved by newbie and part time jazz fans. Or folks who don't understand things, no matter how much or how long they try. And his ascent to popularity was a long time ago in a very different world.

I like Bregman just fine on the Porter, relistening to it right now. Maybe I'm just used to it since I've been hearing it since I was a child, and that's a long time.

And that of the different arrangers used, I think they made good choices in matching them up but I'm open to suggestions regarding that.

As always, thanks to CJ for being willing to put her feelings and thoughts 'bout stuff out there for all to see and react to. Maybe music isn't where we should be looking for cultural resonance or whatever anymore. Maybe, but then what? Maybe culture or resonance or whatever aren't the thing. Larger forces are at work here and I often feel less and less able to understand them, much less have any effect on them. The track in question seems pretty generic and weak to me, but it means something to somebody. And much of what's trotted out as evidence of how much better things used to be doesn't mean that much to me either anymore and often never did. But then I think chicken 'n waffles are a weird thing, so what do I know?

Well, stop going to those places. If you can. I wonder if I can list as many pianists I'd rather listen to (or at least just as soon listen to) than OP as I did in my guitarists I'd rather listen to than Page list? I think I got to 100 there.

I was listening to OP with Lester Young last night, and he was fine. Just not as fine as Teddy Wilson is with Lester. There are other folks I'd rather hear leading a trio too, but the only way I can see getting worked up about it is if someone's trying to tell you he's the greatest thing ever....

Very much a fan of the original trio with Young & Holt, both before and after their commercial breakthrough. Very much not otherwise. But a remarkable career quite apart from what I think of any of it. RIP.

To paraphrase Alan Jackson, it's 2pm somewhere.

Maybe we should do a thread on jazz versions of Tom Bell tunes, or Philly soul in general. Remember it well. I love Hank Crawford, but think his work for CTI/Kudu is the least likely to end up on my playlist.

This is certainly true, and a remarkable accomplishment. As is the fact that we're still talking about them all these decades later. There are also very significant differences in how they did things which result in very different product. There are albums on ECM and CTI which I love, but it's not a coincidence that I own a relative handful of those and damn near everything on BN til Francis Wolf died. Maybe we should do a thread on jazz versions of Tom Bell tunes, or Philly soul in general.