danasgoodstuff

Yeah, you would have to think that even on a multi-player bill, they did more than one relatively short number. But does it still exist? And everyone is pretty much at a peak. And since some not originally issued material surfaced later...

Dr. Lonnie, no question, both for his own playing and the company he's kept meh on both Wild Bills for their own playing, but the organist was part of something bigger, and I can enjoy them both in context George the trombonist even though I once saw him be an asshat to an audience - he holds News For Lulu together. George the clarinet player has never done much for me even though I love polyphony and players like Johnny Dodds.

I've certainly never caught wind of any more Ayler from this concert existing. Which is a shame 'cause it's Albert at his peak, IMHO.

Not a fan of Cosey et al with the Wolf, but yes that is an example of the kind of promotion I was talking about. It feeds into a certain strain of American paranoid boneheaded resentment of experts that's ultimately rooted in something real but which can easily go seriously astray even before it gets going.

I think the complete singles box that was withdrawn was a much better package

This is funny, but I never know if you're joking or not, do you?

Two which were, I think, recorded in '78 and released in '79: Arthur Blythe, Lennox Ave. Breakdown and James 'Blood' Ulmer, Tales of Capt. Black.

Said 'hi' to Frisell once, he seemed ok. I knew two local PDX blues/surf/whatever guitarists who worked together sometimes, one was definitely more tightly wound and hot 'n cold than the other but he was still basically a good guy. Know another jazz/is-it-jazz player in SK who's a wonderful guy. FWIW.

Ray made some odd choices when he got hold of the reigns. But that's part of what makes it interesting.

They should just do a series of all these supposed train wrecks and get it over with. Put unflattering quotes on the covers, "A sea of avant-guard nothingness', etc.. Worked for Grand Funk and others...

Very nice.

I used to collect different versions of some tunes, but I've pretty much quit doing that.

I never get tired of imaginative takes on tunes I like: Silver, Monk, Ellington, Morton, etc. But even better are takes on tunes that make me reconsider what I thought about them. Later takes on Carl Stallings and Raymond Scott did that for me and sent me back to the originals. As did the Hal Wilner curated Amacord Nina Rota. In all those instances I hadn't disliked that music, just took it for granted or overlooked it. I'd like to hear more non-organ combo renditions of tunes by organ players. Nothing against organ, I love it, but just to re-contextualize.

Hey, it happens. We're good.

Other than playing at home for your own amusement, they all are. Don't think I implied otherwise. They bring a breath of fresh Air to this material, but that's them not the material. Any material can be done well or poorly. I'd answer this thread's question by saying it's not the material - there's no material that guarantees an interesting performance. Some may up your chances a bit, but that's all.

(7) Going Back To Memphis (Outtake/Remastered 2001) - YouTube The Band, Moondog Matinee deluxe

And vice versa, where people claim for themselves or attribute to others, songs that actually are traditional. And just getting those things wrong generally. I love Muddy Waters, but he is often credited with writing things he didn't - Got My Mojo Working, Baby Please Don't Go, Roll 'n Tumble, etc.

Broadway was always a hustle, internally and externally. But it used to be a more interesting one.

Yes, the culture has changed. But it may not have ever been quite what it's been made out to be either. I'm underwhelmed by the Frozen music, but I like Colors of the Wind and enuff other Menken that I think a decent album could be made of it. I've never done more than just play through the melody myself, so it might not be much of a jamming vehicle but then that might not be the right approach anyway. Doing 3rd rate versions of Charlie Parker Plays Coe Porter is a dead end, that I'm sure of.

Well, there are several different considerations in play there, I'd say. The nature of the tunes themselves - are they musically suitable for this use? I'd guess that some are. Do audiences know them? Yes, my experience in record stores and libraries tells me that movies are culturally central to many people. Do they want to hear them jazzed? Maybe, maybe not. I'd say it's a better bet than trying to find something new to say on GAS canon tunes and then finding an audience for that.

How many people know those tunes now. Make more sense to play current tunes from movies or musicals.

I'd ay I'm pretty much on the same page here (only I've never really learned to improvise much myself), only I'd add learn blues and/or the folk of your own folks before standards,

Looks like some good stuff, much of which I know. Oscalypso is particularly groovy. And AP Meets the RS totally deserves its reputation. I like themes or threads in these BFTs.

Definitely agree that it's fun - wish it was up a little in the mix.

"Slow Drag" is the lead track from Donald Byrd's album of the Same name, Slow Drag BST 84292. Billy does indeed vocalize on the fadeout, not sure I'd call that singing.