danasgoodstuff

And then nearly fell apart in its moment of triumph. RRs are not just a relic of the past, although they will never be as central as they once were. But they are very well documented (except maybe 'what were they thinking'), but all that data leaves plenty of room for interpretation. And they impinge on all other sorts of things. It's hard to not be nostalgic for a time when jazz was jazz, blues was blues, country was country, and the train went everywhere. I know better, but it's still hard. Just the sight or sound of a train makes me happy.

It most certainly is, but only a small slice of her work. That goes right up t the line of melodrama, but not over it for me, YMMV, etc. Interesting, if not entirely successful - as if it was in a Kurt Weil musical.

Merging Lines: American Railroads 1900-1970, by Richard Saunders, Jr.. He does a good job of pulling an interesting narrative out of the sea of detail that is railroading in 20th Century America. Lots of maps and other facts and figures, but not overwhelmingly so. Surely the most thoroughly documented industry ever? Like baseball, it just seems to lend itself to obsessing over details and stats. My dad loved trains and so do I, so this renewed interest works for me on many levels.

This Thing?

What 'Thing', by whom?

The Jazz Crusaders Ooga-Boo-Ga-Loo - YouTube here's one Wilton's Boogaloo (Live/Digital Remaster/2005) - YouTube here's another, both with 'boogaloo' right there in the titles.

Yes, I only found a couple of Jazz Crusaders things I thought would work for my project, but I should revisit because my understanding of what exactly this thing is has shifted as I went along. As it should. A shuffle with a heavy backbeat doesn't necessarily qualify, unless it's got a latin-ish pattern bassline of built-in breaks that serve as a continuous vamp...then maybe.

All of those qualify, IMHO. I'm particularly fond of "Yes I can..."

There's some Jazz Crusaders that works for me, and since they are under the same ownership as BN now... I'd love to know what you put on it. All the more reason to finally issue that session on vinyl.

If you include Idris M's work for Prestige, kinda yes. If you make even a little more strictly Son of SW, then to a surprising extent no. At least not that I could find. And most of those records were BN connected in some way, like Harold Maburn's Greasy Kid Stuff.

I'm well over a 100 tracks on this, but it's not just 'son of' - more like son, grandson, dad, uncle, cousin.

Heard him play live once, at an odd gig in a piano repair shop organized by a friend of mine. Don't know his recorded work very well. Seems like he got to pursue his muse and live fully to a pretty good extent. And left something behind for those who might care to pick it up. Can't do much more than that. So thank you and RIP.

Buckshot LaFunke, you should all know who.

In the home of the Habs, to raise the traffic cone is to raise the Stanley Cup | CBC News

“Nos bras meurtris vous tendent le flambeau à vous toujours de le porter bien haut”

That's a surprisingly short list, if you define 'this thing' at all narrowly it's very much a BN thing. Thought about including Greasy Kid Stuff, a couple more on Prestige, maybe one or two on Atlantic. The next thing, Alligator Boogaloo-like phase is as much a Prestige thing as BN.

Yes, I've definitely got that and Tim Hagans' "Nugaloo" on the list. And they'd both fit even under other titles.

Vaccinated, voted for the one they gave me, wear mask when I go out 'cause many places here still require it and it's easier than taking it off and on.

This, X100. Joni strikes me as far too quirky to be a useful source of new standards, at least in a pseudo-jam session public performance context.. You either want to hear her, or you don't want to hear those tunes at all. Once in awhile I hear some 'jazz' jamming on a tune significantly less than 50 years old; BUT even then, I don't want to hear 6 others try it. Even the '60s tunes I think work as jazz, I'm good with maybe the original and 2 other takes, not 10 or 12 like Stardust or Summertime.

Big fan of Cassandra, and the choice of material is part of it, but mixed feelings on this whole 'new standards' thing - I'm not sure I want a new canon or just no canon at all. I don't really need to hear everyone and their dog doing this Joni tune and that one by Van and that other one by Bob. I love what she did with "Last Train to Clarksville" but I'm not looking for a bunch of Boyce & Hart covers/tribute albums. And about the only thing to be done with Joni's material from the Jaco years is to make it less interesting. But I really don't need more obsessing over the Gershwins and Cole Porter either.

I don't care who you are, or where Nothing beats a real nice pear.

Yeah, less sure now.

I've heard the Mosaic, sounded like Robertson to me IIRC. And I think it's been confirmed elsewhere. Danko and Helm are on an early Lenny Breau session and Hudson's liking of various sorts of jazz is well-known, so doesn't seem all that unlikely to me. Nor from the other side either.

You're welcome. Going to primary sources is particularly important here. Non-specialist reporting on court cases tends to round things off a bit, to say the least. Thank you for pushing me to dig this up and read it. Some very funny judicial choices o language here, e.g. 'flip side'. Probably was the clerk having fun.

Coleman v. Grand, 18-cv-5663 (ENV) (RLM) | Casetext Search + Citator full text of the federal district court's opinion appears here. Well worth reading. While there is a full discussion of recent New York law as it applies to the case, the court makes clear that it is an alternative grounds for disposition and that quite apart from it they would grant summary judgement (to both parties) on the traditional, common law (as interpreted in light of the First Amendment) fact/opinion distinction. I find the court's discussion of this clear, reasonable, and not at all novel or radical. YMMV.