danasgoodstuff

This seems so off to me that I hardly know where to begin, but the Lion-Wolf/Liberty/UA years are at least 3 or 4 very different things, and Nora Jones, Al Green, and Van Morrison all had albums on blue Note during the Lundvall years that are as far afield as anything Was has done. There will never again be a label like BN during the Alfred & Francis years, but I think Don Was is doing fine with it now.

Thanks for being willing to put yourself out there and posting your article.

I really like Bobby Watson but haven't heard Love Remains, need to fix that ASAP.

listening to Melissa A's 12 Stars as I type, I think Blue Note is doing about as well and is as Blue Notey as any time since the revival in the '80s and better than it was in the mid to late '70s. In particular, they have fine young talent like Joel Ross, Immanual Wilens, and Johnathon Blake, and better yet they play on each other's records just like the old days. As for possibly relegating non-'jazz' artists like Rosanne Cash or Al Green or Van Morrison or.... to a subsidiary label, I agree with Charlie Parker, 'there's no dividing line to art'. I was happy to see DOMi & JD Beck signed, and Trombone Shorty, and most of the current roster as well.

Castles of Ghana is indeed a remarkable thing, and the whole series would make a nice box set. I've explored a little of his other work and found it interesting but nothing so far as compelling as that.

Indeed

Here's a thought, to me the Flamingos' use of reverb is akin to Ben Webster's use of vibrato, does that make any sense to you? So I guess we're more or less on the same page here, if not quite the same place on the page?

Didn't Lester say that if Clifford Brown had lived then he (Lester) would be working at the Post Office and Miles would be his supervisor?

I've owned both the Bowie and Marsalis albums in question since they were more or less new, couldn't tell you when I last listened t even a bit of either. Maybe sometime in the '90s? The Flamingos I listen to all the time; often just IOHEFY, but other things too. It's great that LB dug the Flamingos, but he's not really telling me anything about them that I didn't already know. That clip of them on TV is priceless.

All jazz is party music, or should be. But then all parties should be intellectually stimulating.

Fair enough, unfortunately not so true anymore but the're still less than most vintage BN.

I can remember when you could get at least halfway drunk at the bar for a dollar, how much does that cost now? Say $20, I'd pay that for an original 3 Sounds album on BN all day, every day. If you were lucky, you get buzzed and hear something like the 3 sounds for a few dollars more - it's social music, you of all people here should get that. Nonsense, Red garland was a master of touch and voicings, and the Sounds did better orchestrations with just the original three than many do with a whole orchestra, certainly better than the added orchestrations on their later albums. 'Musical depth' has many dimensions.

Johnson generally, but I like certainly later period performances by House of Death Letter about as much as anything by anyone anywhere.

FWIW, I vastly prefer the Sounds up through @ the Lighthouse to anything Gene did later. As stated above, this was a band not just a pianist and two other guys.

(12) Toussaint McCall Nothing Takes The Place Of You (1967) .wmv - YouTube This song, which was featured in the movie Hair Spray despite not quite being the right period, reminds me of my late brother. Another performance that affects me greatly is Hank Mobley playing "The Good Life". (12) 1964 HITS ARCHIVE: Wish Someone Would Care - Irma Thomas - YouTube I almost forgot, "what about your tribulations" (12) Stanley Brothers, The Rank Stranger - YouTube "They knew not my name and I knew not their faces"

RIP A unique voice.

They both strike me as quirky enough, both in their use of voices and otherwise, to be taken as sincere personal statements from a PK.

Chick's Trio Music with Miroslav & Roy is some good stuff, maybe not as good as their earlier work but still worthy. Not too ECM-ish, and to the extent it is that it transcends that.

I can remember when he came up from the minors, makes me feel old. Great player, leader of the last of the Habs' dynasty. "To you from failing hands we throw the torch. Be yours to hold it high." from In Flanders Fields (as I'm sure all Canadians know), on the wall in the Habs' dressing room, only in French (and unlike the national anthem, in a direct translation).

This should make some here in Portland happy, including Tom Grant I would imagine.

I play (sax) a little, but I don't hear keys or chord changes well at all although I do know blues when I hear it and I at least used to be able to improvise on a blues or two chord vamp and make the changes without having to think too much about it. I like to think I can recognize players by their sound and phrasing. When listening for pleasure, I focus on sound, mood, and dynamics - I like to hear the players interact and respond to each other. I like to hear ideas develop and like things that gradually morph from one thing to another. I love blues and swing, but there are lots of different ways to play with feeling. I like folks that got their own voice, I respect but don't love professionalism, versatility, and being a utility player. I love Sonny Rollins, Thelonious Monk, Lester Young, Professor Longhair, Muddy Waters, Lee Morgan, Miles Davis, Otis Redding, early Stax in general, Willie Nelson, Burt Bacharach, Beatles, Stones, Blue Note from the first note but not the new note, Smokey Robinson as both a singer and a writer, basically anything I can hear the humanity in. Oh, and Chuck Berry and Little Richard and Elvis and doo wop in general. But I can be quirky - I draw 'the line' between Jeff Beck's Truth which I love despite the complete lack of songwriting, and Led Zep which I consider utterly empty bombast. I love folk, as in traditional anonymous songs of the Anglo Celtic sort and others too, but have little use for most 'folkies' who write their own and don't really see them as the same sort of thing at all. I was once a pretty big Bob Dylan fan, but he lost me long ago although I do still enjoy most of what I bought when I was a fan. I struggle with most recent music of any popularity, but love talking with my daughter about it. I dabble in classical and prefer chamber generally. I think I listen to jazz basically the same way as to other things, but not totally.

Didn't the Booker Little/Eric Dolphy Quintet that recorded at the 5 Spot play just that one gig? And weren't the Booker Ervin groups with Alan Dawson, Jaki Byard, Richard Davis, and various variations on that lineup, weren't those all totally studio only?

If it were banned (as if such a thing could be done), it would be limiting Sonny's influence on others. And I've heard Sonny do it at the end more often than at the beginning of tunes. I voted for the second option; do it just do it well.

I'd like to see the Hutcherson funk session that's only been partially issued as a track hear & there to come out in its entirety as an album.

Very saddened to hear this, way too young.