danasgoodstuff

A shuffle, or a different groove?

I had thought in times past that I didn't need the Horace Parlan or Ed Hal/James P./etc. sets, now I think I do...I have my fav parts but still want the rest. May as well just go for everything on BN up til '71 or so since I'm so close.

Re GG Alive (at the Cliché Lounge - couldn't make that up, no one would believe you), it's interesting that the bonus tracks reveal that this band at this time was playing HH's Maiden Voyage at gigs, and well.

...or is the point that it's all (whiteness, blackness, any thing we might be said to be) just a pose, an illusion, a construct, a trap, etc.?

I heard some nice Event Jazz in the coffee shop in their other building when I was there awhile ago. Love the AKG.

Not often enough, probably.

https://www.amazon.com/Soul-Swagger-complete-5-Royales/dp/B00HGTNKAU https://www.motherjones.com/politics/2014/04/the-5-royales-soul-swagger-collection/

Um, no. Not a hit in any world I can imagine.

Sounds like jazz to me, YMMV.

And Elvis - but after a certain point there's nothing new to say so the worthwhile stuff is just spread thinner...

Did Boykins write that crazy (in a good way) bass line? Warren sure nails it!

I always felt that while the Restatement was eminently quotable and great for jury instructions, that if you actually wanted to understand shit you'd go to Prosser,,, but I was infamous in law school for being far more interested in what things should be than what they actually were.

Unless a court says it is, kinda like the Restatement or Prosser on Torts.

The judge relying on the dictionary can be a subtle way of saying 'your argument was absurd'...or not. Contracts are generally construed to follow the usual meaning of the words, unless there's a good reason why not.

Could be that they did, and the reporting is just lazy/sloppy...

The only thing I will say about Blacks is that when Stewart Graham, my Contracts Professor, gave his introductory remarks at the beginning of the course and was giving his dos and donts, he said that if anyone ever cited Blacks in discussion or in a paper, he would fail them on the spot. Even if you could cite case law, or other relevant authority, which had relied on it?

I love making lists, not sure how expert I am.

On the 2nd session now, the two long cuts, at least, are a step up. But mixing the two might've produced the best possible album(s)?

This prompted me to re-listen to this for the first time in a long while, first time in a while for either Pepper or Stitt actually. And I'm quite enjoying it - the first session may have been personally unpleasant, esp'ly for Laurie, but everyone plays just fine, with just enough combativeness to keep it interesting. They must've fundamentally dug each other's playing. I don't think I've ever heard Stitt even get close to the thing they do in places here where the trading licks starts to slide over into the kind of simultaneous improvised counterpoint that Konitz & Marsh were the masters of (and which Art played with each of those two separately)(see/hear the end of How High the Moon). The rhythm section may not be ideal, but they ain't bad. Thanks for the prod.

I don't buy Verves (by JOS or anyone else) 'on faith' the way I've bought vintage BN in the past, but there are lots of fine records by JOS and Wes and Bill Evans and Getz and others on the label - you've just got to pick and choose to find your own sweet spot(s).

Yay lists! Here's mine for the decade just past (or not): Mary Halvorson/Bill Frisell: Girl With the Flaxen Hair (Johnny Smith tribute), this is the record that turned me around on Halvorson Lonnie Smith: All In My Mind (Blue Note), simple straight forward live date with working trio, greasy and spacey John Scofield - Country For Old Men, not as good as the live date in support I saw, but a great concept JD Allen - Graffiti, this grabbed me in a way his others haven't, it's got that Sax Colossus/Our Man in Paris swagger Rolling Stones - Blue & Lonesome, finally the album the've been threatening to make for decades William Bell - This is Where I Live (Stax), not a recreation of vintage Stax but certainly rooted in it Enrico Rava - On the Dance Floor (ECM), an MJ tribute, live with a big band, putting him in a context ranging from Sousa to JB Regina Carter - Southern Comfort, a tribute to her coal miner forbearers an I'm sure I forgot one or two. do Sonny R's Road Show comps count?

'Fat dude who plays alto now' would be Darius Jones.

Never heard this version, this is after James Carr's right? Very fine rendition, thanks.

All the best, to all of you.

https://portlandartmuseum.org/exhibitions/current/ didn't get to all of it, but had a nice day out with the wife 'bout two weeks ago.