danasgoodstuff

I like the Dead, I really do, but am I the only one who finds the self-involvment of deadheads to be just a bit of a barrier? On the other hand, I have some nice bootleg Quicksilver....

Boy, this discussion made me go back and listen again and again. But I guess that's what these AOTW things are for. I don't think I've ever (over several years of lurking and posting) disagreed significantly with Jsangrey and here I couldn't disagree more. For me Ron Carter is the glue that holds the originally issued session together. Not just the lines but the sound which is much 'darker' than usual for him (so good it could almost be Richard Davis). At times the slow decay on held notes is the groove. for me, that is, which just show to go ya that two peoples can hear completely different things...I find the bonus session more "interesting" (esp'ly Jimmy Ponder in this context) but less successful/fully realized (hence unissued). Oh well, I'll try to keep up better.

Going to beautiful Saskatoon (no, really) late June so Frances Belle Scott ("Little Bit") age 17mo can see her grandparents. I usually enjoy driving and being there but it may be kind of a long trip this time. She's never been there or on any long trip before. May get to hear some good music there (again, no really) since long time friends are apparently living and playing there again. Lon live the Lee Kovak/Bill Richards Quartet! Lots of sunshine at roughly 52 degrees north that time of year!

Late, I think Lee would definitely have brought more fire to the post-Brownie Max Roach group, but I was thinking more of the unpredictability(?) that Sonny would've brought to Son of sidewinder things....

OK, who's got the Book of Kells image from the old board? I miss it--put it up as wall paper on the shared computer at work and it stayed up forever. I thought the comparison was quite apt, if just a little arcane...

Hey! Where's Eddie Lang?

Rooster Ties, If you're in Portland you can check your e-mail and this bulletin board at the Multnomah County Library-ew'll give you a guest pass good for one hour per day.

According to amazon, the CD reissue of Nick Gravenites My Labors (which was part live/part studio with a different band) contains 3 bonus tracks for Live at The Filmore (would've made more sense to combine all the live stuff in a new package but..). Last time I checked Al Kooper's web site he was talking about a Bloomfield box later this year. I haven't popped for the improved Super Session or the new live stuff, but I might go for the box.

According to amazon, the CD reissue of Nick Gravenites My Labors (which was part live/part studio with a different band) contains 3 bonus tracks for Live at The Filmore (would've made more sense to combine all the live stuff in a new package but..). Last time I checked Al Kooper's web site he was talking about a Bloomfield box later this year. I haven't popped for the improved Super Session or the new live stuff, but I might go for the box.

Sonny Rollins, which would make it "more than nothing" which is not quite what you asked, but this has long been my fantasy tape find...maybe Lee was too close to Clifford Brown for it to have been comfortable for Sonny?

For Portland I'd add Powell's Books which takes up the entire city block (ours are small, but still) at W Burnside & 10th. Besides lots of books, they have nice walking maps of downtown. A few blocks south on 10th at SW Yamhill is the central library, which also takes up the entire block. And then taking up most of NW Portland is Forest Park, a great way to get away without having to go too far. In Seattle I like Buds Records, an old style jazz shop on Jackson at the south edge of their downtown, which I've always found much more funky/interesting than ours.

OK, I like his tenor soloing on Carumba! and I love his bass clarinet ensemble work on Bitches Brew. The later is, as far as I know, unlike his, or anyone else's, work anywhere else.

I always assumed that the WSQ, which Muray is/was also a member of, was the inspiration...I actually prefer the way Clarinet Summit do Ellington tunes.

Chris, I don't remember "Teddy Bear" but I do have a very distinct memory of "giddy Up Go" and "Phantom 409" from a hitch-hiking trip from Saskatoon to Calgary and Edmonton and back again on spring break in high school (of course we got snowed on), seemed that was all one trucker played. Also remember the girls in North Battlefield who wanted to take us "just down to the corner"...Hey that might make a good country song!

Chris, Clarifications noted, I think we're on the same page. your mention of Olivia Newton-John reminded me of another glaring omission from the CMT list: Charlie Rich, creator of great music and great hits, albiet not usually at the same time. Didn't he torch the CMA award paper after Olivia (or was it John Denver?) won? I always thought Charlie was kinda what might have happened to Mose Allison if he'd gone to Nashville instead of New York (?!)

Y'all may have noted that I have refrained thus far from stating my exact preferances re this list. However I would have to put the following near the top: Hank 'Sr', Jimmie Rodgers (yes they did mean the right one, thank god), Lefty, Merle, Willie, Ray Price, Web Pierce, Hank Snow, Hank Thompson, Buck and Don (as with many 'great men' it was really the collaboration with others that made them great). Others in the top ten of their list would be somewhere on mine, even Garth (it's interesting that the arguments at CMT all revolve around who is and isn't "country" not who is or isn't good). Others not on the list who ought to be on it either for excellence or influence are session players and/or working band members like Hank Garland, Buddy Emmons, Johnny Gimble, Harold 'pig' Robbins, etc. and non-singing songwriters like Harlan Howard. And then there's the whole brother duet tradition, the Stanleys, the Louvins, the Delmores, the Blue Sky Boys. And what about pre-WWII string bands. Gram Parsons would be on the edge of my 40, as would Joe Ely and any one more recent than that--I love the exteme long range views expressed on CMT's posting "lets wait ANOTHER 20yr to see how good he is", even worse/better than jazz fans in that regard. On a more abstract note, 'going pop' is not necessarily always the problem...singing big glitzy ballands was exactly the right thing for Patsy Cline since she had the perfect voice for it. Finally, it's gratifying to see a thread I started so far off the main topic get such a big response.

Blue Note france has apparently reissued this much sought after title and dusty Groove's got it!

I saw a Clifford Jordan LP at the record show this Sun. for $25, on Atl sub Vortex(?) with John Patton on one side, looked like an avant/soul jazz mix. I shoulda bit?

OK, here's the list: 1 Johnny cash 2 Hank Williams 3 George Jones 4 Willie Nelson 5 Waylon Jennings 6 Merle Haggard 7 Garth Brooks 8 Conway Twitty 9 George Strait 10 Alan Jackson 11 Alabama 12 Buck Owens 13 Randy Travis 14 Roy Acuff 15 Elvis Presley 16 Bill Monroe 17 Vince Gill 18 Charlie Pride 19 Kenny Rodgers 20 Hank Jr. 21 Ernest Tubb 22 Eddy Arnold 23 Rodger Miller 24 Flatt & Scruggs 25 Brooks & Dunn 26 Tim McGraw 27 Bob Wills 28 Chet Atkins 29 Glenn Campbell 30 Ronnie Milsap 31 Lefty Frizell 32 Charlie Daniels 33 Jimmie Rodgers 34 The Eagles 35 Mel Tillis 36 Toby Keith 37 Ricky Scaggs 38 Gene Autrey 39 Dwight Yoakam 40 Travis Tritt Let the flames begin!

Jazzmoose & Chris, Sorry to not reply promptly, I've been away from the computer for a couple of days. Johnny Cash was #1 because, as a CMT poster put it "he's dying" which is sad but true. But they still used Hank W's picture to advertise the show! Bob Wills did make it, well down the list but ahead of Jimmie Rodgers and Lefty Frizell (I think)--all three are top ten to me (so is Johnny Cash, just not #1). Of course some of the posters at CMT complained 'cause hosers like Kenny Chesney weren't on the list. The retort to that was that Kenny "shouldn't even be allowed to watch"! Why not, he might learn something. The show did inspire me to buy a first(?) pressing of Ray Price's Night Life for $3 at the record show this weekend. Maybe they should just invent a new genre/radio format and call it something like "pop for hicks"...

I managed to see most of this last night while feeding and playing with the baby. They had some nice vintage clips but, predictably, it was skewed towards the recent posers. They managed to leave off Ray Price, Web Pierce, Hank Thompson, Hank Snow, Marty Robbins, the Stanley Bros. and others. You thought jazz fans were contentious? Check out the postings at CMT. And Hank Williams Sr. not #1!? I thought that was in the freaking constitution...

Oh, they renamed Play the Hip Hits, Soul Men or something unoriginal like that....but it's exactly the same album.

I got an album by Ivo Papasov(sp?) and His Bulgarian Wedding Band over a decade ago and loved it, can anyone recomend anything similar?

In the New on CD section of Fantasy's new releases page they announce the US release of the previously not officially available in the us imports Play the Hip Hits by the MGs and Stax Instrumentals by the MGs & Mar-Keys. These are both quite nice, esp'ly Hip Hits which is all covers. And it's nice to see them out here, even if it means I paid too much for 'em, BUT I would've rearranged Hip Hits to Include the instrumental rendition of "Dock of the Bay" which I think is a hit waiting to happen. Wonder if Ace's 1000, 2000, etc. Volts of Stax various artist series will ever see a domestic release?

OK, help me out here guys, which album had "Directly From My Heart to You" featuring Don "Sugarcane" Harris on searing 'lectric violin? I like some FZ, some not, generally the earlier stuff. I find the electicism in overdrive aspect to be a particular issue for me...doo wop meets Stravinsky can be a mind blowin' experience but often I wish they'd just stick to one thing at a time. How do y'all feel 'bout that part of it?