danasgoodstuff

Proof is in the pudding; I'll wait and see - this '80s thing or a mid '70s Miles live thing could be either great or meh. And I think the Freedom Jazz Dance set is a worthy addendum to the '60s Quintet box. But I might have included it in the box and then made the break to the Silent Way box earlier, say at "Circle In the Round". This.

Fair enough.

I thought the complaint was why do they always have to be symbols?

I always thought that profile image was meant to be Albert Ayler. Took me forever to see the face in the first image.

I have a train layout in my mind, Canadian Rockies, corkscrew tunnel, it's beautiful. And the Lackawanna Phoebe Snow. And all the lovely rail roads.

There most certainly is, and on their Live @ the Half Note recordings too. And on Lee Morgan's The Cooker. And on lots of BNs with mid-sized bands where he only sometimes soloed.

I love Sonny, but this doesn't live up to its promise, IMHO, YMMV, etc. So, proceed with caution.

Yeah, objectively the rot had already set in but we generally didn't know it yet or at least not fully and Stevie was a ray of sunshine.

Since I've gone back to work in a record store, I play this all the time - pretty much every time I work the register that controls the overhead music.

Nice enough, some of the source material has some life in it and the mix on the fly gives it an evolving aspect. But the DJ's dancing still has more life to it than the music. Still makes me think of clubs I've been in where no one talks to each other much. Social music for people who aren't very.

That's the sound of death itself.

I used to think that Drives was a second-rate period piece hampered by mediocre material, until I really dug the last track, who's Afraid of Virginia Wolf. That alone makes it a must have, IMHO.

Wow, go Allen!

Casal's recording of the Bach cello suites lives in the boombox next to my bed. Lovely and it works.

And then say something presumptuous and stupid about why they did. Sonny's last 50 years are fine, at least as good as the back half of Armstrong's career.

Yeah, there's a thought - they could've had Cherry &/or Ornette on an organ date.

Or John Gilmore on an Andrew Hill date.

Glad to see Winter Moon, Art Pepper at or very near his best and the string charts are actually pretty good unlike too many 'with strings' albums. I was very deeply into Art in the '80s, starting shortly before he died, had planned to see him at a festival he didn't make, but at least he had a good excuse for once.

It's a shame they didn't get Cherry to play with Jackie McLean or Shorter or Rivers.

That too.

Yes, whatever The Bridge is, it is consistently that. The other RCA albums I find wildly inconsistent.

Boss of the Blues is the best blues album with no guitar solos.

Illusions is a solid album and Blythe had a truly distinctive voice on his instrument.

I don't get it, eh?

Can't say I'm familiar with that term, and Googling didn't help.