danasgoodstuff

It is, and mostly overlooked rather than under-rated or under-appreciated.

It's a tribute to cannonball that it got made, when without his involvement it probably wouldn't have. whether that makes sense to you or not, it is a fine album.

Winnipeg - 65

Half Stax, half Fame; all great.

So, I'm confused, are we to conclude that Sondheim is an onions and potatoes kind of guy or not?

"Penny Lane’s documentary Listening to Kenny G, which premieres on HBO on Thursday as part of its Music Box series, does. Lane, who has previously made movies about American scam artists and Satan worshippers," I think this says it all. I read a bit more, and this really seems like a less interesting version of this book, Celine Dion's Let's Talk About Love: A Journey to the End of Taste (33 1/3): Carl Wilson: 9780826427885: Amazon.com: Books from the 33 1/3 series which has the subtitle A Journey to the End of Taste. In other words, not only is it a questionably pseudo-contrarian premise, it's been done before and probably better. Have I overthought this enough now?

At my house we watch the Thanksgiving parade every year, sometimes twice.

Posted 25 Nov 2004 · Report post "Cannonball Takes Charge." I also think he's in very fine form on most of Kenny Dorham's "Blue Spring" (as is Dorham), though that date as a whole is a bit limp and Keepnews-y at times, doesn't have the at once utterly locked-in/mellow/fiery feel of "Takes Charge." "Something Else" does have one of Cannonball's most effective solos ("Autumn Leaves"), and it's a wonderful record, but I think of it as more of a Miles album, even though Cannonball is the nominal leader. In fact, I'd say that Blakey has more to do with the overall feel of "Something Else" than Cannonball does. Quote Larry Kart 17 years ago apparently.

And there's 'the rub', the sticking point, the crux of why I respect but don't love Sondheim - he's part and parcel of Broadway's increased insularity during his active career, i.e. the last 60 years or so. Don't always love Lorenz Hart either, partly for reasons Sondheim identified, but in general I prefer Hart to Sondheim lyrically and much prefer the music of Hart's era.

Mingus & Dolphy, Cornell '64.

I might not put it quite that way, but I largely agree. Musician can be a long way short of 'visionary' and still produce lots of enjoyable work.

I met him here in Portland long ago, interesting guy.

I have the Festival Album and Lighthouse '68 on LP and much prefer them to their studio stuff of the time, FWIW. All the Jazz Crusaders live albums have bonus material on CD, adds up to another 2 albums or so IIRC. I find the live stuff to be both more energetic and more expansive.

Yes, absolutely, and it's great to have all that variety. Just stating my own preference/hierarchy.

Good player, but he ain't no Henry Threadgill or Julius Hemphill. he ain't even Arthur Blythe. But he still ok.

I'm kind of surprised I didn't chime in earlier to this thread. I am of the opinion that Blythe's Lennox Ave. Breakdown is about as fine an album of American instrumental music as anyone has made, ever. YMMV, but it shouldn't. An ideal Lou Donaldson album would be that good; but none of the actual ones are quite, enjoyable as nearly all of them are.

Go Riders!

There are kinds of different ways to do things, it's just that Iverson gets under my skin sometimes (and sometimes not) and 'long-form = better' is naff upper class prejudice, and there's no need to say who's better at it, alt least not til you've fully explored all the different ways it can work.

I'd say that 'long-form composition' is very overrated as a thing generally and antithetical to jazz specifically and that I like 'jazz' just fine as a name for something that doesn't need to be described as 'classical' 'cause maybe it ain't. Maybe nothing really is and 'classical' is just not a very useful way of seeing or hearing anything. Or maybe Iverson just pisses me off so much sometimes that I just want to disagree no matter what.

Boy, is he ever.

I have many Clifford Without Strings albums, and love pretty much everything he ever did. And there are with strings albums where the strings are doing much more interesting things than here. Art Pepper's Winter Moon for instance. It's just that I love hearing Clifford play ballads so much that little else matters when I hear the album in question.

Clifford with Strings is wonderful because of Clifford, the strings hardly matter. But that Konitz piece posted above is something else, is that currently available somewhere?

Mike Cuscuna's notes to ln Memory Of in the 'rainbow series' talk about all of this better than I can, and Mike Roznek's notes to Mr. Natural aren't bad either. I agree with JSngry that it's one voice, no matter the setting. for the record I own everything Stanley did for Blue Note, leader and sideman, and some on other labels too. Given anything at all to work with, Turrentine would find the music in it and make it his own too. Like Grant Green, like all the truly great players IMHO. He and Gene Ammons were coming from similar yet distinct places, and jazz histories that ignore them are woefully lacking.

Those are all good 'uns. Shorter's Etc.. may be my favorite leader date by him, similarly Larry Young's Mother Ship.

And I like the rainbow series covers just fine, some work better than others and most work better than pseudo vintage, and they are something separate from the other releases and should look that way. And the rainbow corners made them easy to spot in a box or bin full of records.