danasgoodstuff

Some darn good deals on some darn good music there.

That's quite an accomplishment, being a Jazz Messenger. Do you know if she's still active?

It was ok but not great. Still better than the fangirl tripe they ran on Stephen Stills awhile back. Or most of their infrequent non-classical music coverage.

Maybe they'll officially put out the other two tunes from the session that already had 3/5 of its tunes added to The 6th Sense as bonus tracks. Cuscuna notwithstanding, the're fine.

By my count there's an easy 5 LPs worth of material, with no alternates, if they use everything that was on the 3 CD version.

IIRC, there was some fairly detailed and technical saxophonic analysis offered, so it may have been you, or it may be my memory playing tricks as it is wont to do sometimes.

My fav was the one where someone (JSngry?) referred to Joe Hen's playing as 'saxophone twaddle' or was it "tweedle'?

Green as sole guitar was wonderful (Spencer and he tended to take turns rather than really complimenting each other), Green & Kirwan was a two-headed guitar monster. Green was a fine singer and songwriter too.

I love JOS, have all the BNs now (I think) and I agree that Cool Blues is something special, only reason it wasn't released right away is that they recorded a big pile of JOS and doled it out slowly after he left the label. And I think the sound has some rough edges, IIRC.

So very glad to hear your good news Dan.

Saw Shepp recently (pre-pandemic), he played "Wise One" among other things, it was deep. Yeah he's lost a step but he still has a lovely distinctive sound. The early stuff and the 1st two duets with Parlan are my goto records.

All my best to you and yours Dan.

The're certainly not typical Blue Note, whatever that means to you. 'Bout the only thing Blue Note-ish about them was getting Elvin to play on one of them. but they are fascinating and very much their own thing. I hope he was happy with what he was able to do, pity BN didn't do more with him.

We have a copy of this, I enjoy it but can't say I listen to it often.

The Who and Guess Who, if I'd bought some Yes I could do the whole routine!

First two are lovely, some of the related work even more so, I meant 'populist' as a descriptive not a pejorative. Later RTF I have little use for but YMMV and that's fine.

I love jazz 45s, wish I had more. But BN did some weird things - 45s with different takes that were only marginally shorter (Senior Blues), edits of things that weren't that long, and not putting things out as singles that seemed naturals, like Horace Parlan's Heading South: and this on the B-side:

Absolutely, although the sci-fi references may have been silly to you and I they tapped into the public's love of genre fiction in a way that was of its time and connected them to prog- but while a RTF/Rush cross might have genuinely spoken to some people, I wouldn't be in that group. But I'm not sure how deep any of that was for Corea, or if it was just a vague gesture towards something he felt he should do, without thinking it through to any degree past 'hey, lets communicate!'. Some of Szabo's work seems nearly as superficial in its gestures towards world music, but I don't know it as well AND lots of worthwhile art has been inspired by philosophic phluff that doesn't even begin to stand up to scrutiny so...? If dilatants actually understood the cultures they raid, they might make even less interesting music. I certainly have no deep understanding of raga, and if I wanted such I wouldn't look to Szabo to get it, or to Corea for jazz engaging deeply with the popular music of his day. Grant and George and Stanley T. all, IMHO, actually understood R&B, etc. pretty darn well. YMMV.

Return to Forever, more so mk.2 (Dimeola) than mk.1(Farrell). And off and on after than, to varying degrees.

My problem with Chick deciding (after Circle and Miles) that he want to play in a more 'for the people' vein wasn't that it was dishonest, it was just clueless. The others mentioned had some familiarity with and genuine appreciation for things that actually were popular in their time, Chick just guessed. He's said so, as JSngry mentioned. Gabor made a sort of populist move, only earlier and in a decidedly different way than Benson. Gabor's stuff is only kind of interesting to me, but I may yet change my mind.

As an avid history reader, sometimes the footnotes are the best part. But seriously, I got no beef with Geo. Benson. Got no big pile of his records either, but I got enough that I can listen to him when I feel like it and the man can certainly play. Got no beef with Nat Cole or Wes M. either, and the're all more than footnotes to me - possibly three entries in the Why Couldn't They Make a Decent Living Playing Real Jazz chpt. All of the afore-mentioned (and Grant and Turrentine) were, IMHO, more genuine populists than someone like Chick.

Reputedly "La Nevada" was his own favorite, but I don't know his playing well apart from that.

Is that really 1958? Don't think I've ever heard him play so well so late. Lester rules.

That RS piece goes on and on, but never mentions his masterpiece (IMHO), News For Lulu, which has enuff concepts for 3 albums but it somehow doesn't get in the way of the playing which is superb by all hands who function with a togetherness that makes telepathy seems the only explanation. Nothing else I've heard by Zorn, and v. little by anyone, even comes close.