danasgoodstuff

FWIW, I'm generally ok with the moderation over at SHF - they sometimes shut things down a little quickly but when they don't things can get very nasty. Usually they allow a fair bit of push and shove, it's the tendency to obsess endlessly over the same things that's a bigger issue. And moving that discussion to its own thread was perfectly reasonable, IMHO.

Rereading this thread made me wonder, has anyone here ever read anything anywhere that goes beyond just spotting the quotations in solos, or just saying that sometimes they work and sometimes they don't, to really analyze how and why they might or might not work as part of an unfolding line of musical thought? Preferably with a few notated examples for those of us who read music but not necessarily all that well. And I love what Ira said there about Benson, although I'd have love some punning on Grant Green as an influence on George's playing even more.

She has a lovely voice, skills and soul too. But this sounds like it was someone else's idea - she sounds like she's sight-reading. And I love tribute albums when the're done well, but this is no better than mildly pleasant to me.

Pitch instability, most noticeable on sustained piano chords on slower tracks, goes by the name 'warblegate' (sic) on the Hoffman forum, there are samples and voluminous discussions there...I can hear it, some can't. It affects other albums too, but appears to be fixed and Black Fire was probably the worst.

Never seen this, or even a mention of it, how is it? Yeah, nevermind I found it.

Saw him last year, he's lost a step or two but he's still a presence to be reckoned with.

Back in the day, meaning in this case the mid '70s to early '80s, you bought vintage Blue Note when you saw it or else and didn't worry about which pressing it was, mono or stereo or even all that much about condition or who was on it. I found out about some wonderful music buying $1 beater BNs that way that I would never have heard otherwise and wouldn't see again for years and wouldn't have been interested in paying serious $ for either if I hadn't grown to love my play copies. Blanchard and Harrison were ok, but the Columbia signing that was a godsend was Arthur Blythe - great albums, sometimes wonky recordings but easy to find.

Yes it does have a Son of SW track, but as far as I know it's not currently scheduled for a reissue, is it?

But, interestingly enough, no 'Son of SW' in any of the subsequent bunches.

Maybe it was meant as the start of an ongoing series?

I love that the last two on Prestige are consecutive catalog numbers and share the same title - how lazy a day were they having at the office that day? Both fine records, but couldn't they at least call one 'Holiday Soul' and the other 'Soul Holiday'!?

This seems like as good a place as any to ask, are there any recordings of Miles while either Rocky Boyd or Frank Strozier were in the band? An I agree that Stitt was not the right fit. I don't want Miles to necessarily play more - less is more is (part of) what makes him Miles.

If people aren't confronted with exactly how pervasive, common, and crude this stuff was, at some point they're not going to get it. Exactly, they should've left them in. IMHO they copped out. On the other hand, I think the whole Anthology B-sides project is absurd anyways - Harry Smith didn't choose those sides for a reason. There are days I think Harry Smith and his bootleg Anthology are absurd. Life is absurd, but not as absurd as shying away from the absurd or the ugly in life.

That seems pretty in line with what I've seen. Some like to draw hard 'n fast borders and get very purist about it - 'no blues' for example - and by their standards I suppose Van Halen is not metal and neither are Led Zep or even Sabbath. Painting themselves into a very narrow corner, it seems to me... I don't even like to split hairs about hard bop v. soul jazz, genres I'm far more interested in, but I do have fairly formal boundaries for boogaloo, but I see that as a type of song or performance style and not as a genre. I suppose someone could dabble in metal yert remain outside the genre, but that seems unlikely to endear you to metalheads.

All that flak for just saying 'meh'?

I'm not a metalhead, nor a Van Halen fan, but my impression from reading far too many discussions online re what is and isn't metal is that definitions have shifted since the '70s & '80s in a way that excludes many bands whose initial fans would've thought of them as metal. I won't even try to elucidate the hair splitting over the difference between heavy metal and just plain metal...

I think i have all the Don Wilkerson leader dates, i.e. the 3 Blue Note and 1 Riverside, but that's too easy - for anyone with significantly more recordings and more obscure/hard to get, probably not.

Nor I. To me, Gene Ammons is as important as Ornette, and I love Ornette, and Billy Higgins might be more important than either. The fact that both Ray Charles' band and James brown's bands cut versions of the Sidewinder is hugely significant to me, and that river flowed both ways...so this may be the greatest failing of received opinion in jazz historiarguefully - the utter failure to deal with groove in a meaningful way. I'd love to see something that treated all American vernacular music as one thing, one that interacted with more formal musics sometimes but was not dependent or inferior to them.

Hooray to all those who have successfully cleared this hurdle, good thoughts to all those still struggling to do so. To thine own self be true.

Too bad they didn't do this a decade or two ago, but still sounds nice.

Another variation.

I've been listening to some late '40s/early '50s modern jazz, all on BN, and one thing I find incredibly frustrating is that they'll have these incredibly groovy heads with interictally patterned rhythms going on, and then when they get to the solos it's almost always straight walking 4 - keep that shit going and solo over it!

And, ironically or not, Search was the next best seller for Lee after Sidewinder. They certainly tried to get similar hits for others on the label, Hank for one, but the next most successful thing on the label was Horace's Song For My Father and that, while certainly groovy in its own way, wasn't an attempt to replicate SW it was just Horace being Horace.

I may have mentioned this before, a friend introduced me to Andrew when he lived and taught here in Portland. He seemed painfully shy to me, but maybe I got him on a bad day.

I've got his Remember Me from '76, good stuff. He had his own thing going on. Spent most of his time teaching in the NYC public schools, right? Also got the one with Booker Little and some other '60s stuff.