danasgoodstuff

played piano just a little when I was a kid and snare drum in band one year. Then took up sax in college, first on a borrowed alto and then I bought a used tenor in S'toon. a few years later sold the tenor for $150 and bought a C-melody for $50 when the 100 difference made a difference to me. played v. little for a long time, then got it overhauled and started playing again, bought a second C-melody (a Conn, the first is a King). Would love to have a C soprano. Play sporadically.

yes, a Citizen

That's a good 'un.

He did Kinsman with Rudy M, right?

The CND politics poll was fun, but made me realize I don't follow it closely despite having friends and family there, my preferences are partly nostalgia for the SK I grew up in (I think you can figure that out).

thanx

I'd love to have a big wall-sized diagram (in the style of Pete Frame's Rock Trees) of all the Art Blakey & Horace Silver bands and interconnections between the various sideman, would take a pretty big wall I think!

did it come with a blower?

..and he (Charlie Watts) and Ginger knew each other, going way back to Graham Bond days if not before. Yeah, that trio shit here is quite something, thanx!

This is amazing!

No "Crazy" because it's a collection of very early work from a different label. Patsy meets Irving Berlin.

OK. I think we're more or less on the same page then. There was a history of jazz/record guide thing that preferred Lavern doing Bessie to Dinah doing same and said that Dinah's tribute was more old fashioned...but they were British and maybe it was just an editing glitch.

this is one of my favorite things ever

LaVern's OK, but I vastly prefer Dinah's take on Bessie:

It is known that BN's break even point while still a two man operation was somewhere 'in the low thousands', so your estimate of just how poorly True Blue sold is probably at least ballpark right.

The Staples version of "Masters of War' is what I'd call 'sublime', strong medicine to be sure but well worth it.

Both JOS and the 3 Sounds sold well enuff to get full color covers (a rare privilege @ BN), but the Sounds left for greener pastures first - their last BN session during their initial tenure was June '62 and Smith's last recording for BN were Feb. '63. AND they both left lots in the can which the label doled out for decades after, starting during what we're imagining to be a dry time for them. BN during the Alfred & Francis years was no doubt a day to day struggle. it's why so many great sessions went unreleased. Beyond that, details are kinda sketchy.

Mine, Multnomah County Library, still holds twice yearly sales which is where many donations end up. They still charge adults late fees, but not children, and there are those who wish to do away with adult fines.

I like yo think of myself as a pretty big Blythe fan, but I didn't know about this,. Thanks!

JOS on BN: 1) trios; 2) trio + 1 horn; 3) > 1 horns, free for all jam sessions like The Sermon: 4) concepts like Plays Pretty or Fats Waller.

BN for me - I own and enjoy some of the Verves but I'm near complete on BN and spin them more often too. There are at least three different sorts of BN, and a few that aren't much like any of the others.

I can hardly believe that I haven't chimed in here already. I own both the aforementioned Mellow Yellow and the previously not mentioned Plays Otis Redding. Guys like this are the rank & file/line staff of music, dig it.

This list was done for a thread that had slightly different rules, so if you get hung up on that just disregard what doesn't fit the rules here. so here goes - my fav 21st Century albums, even if most of them are in one way or another backwards looking: 1) Enrico Rava - On the Dancefloor (ECM 2012). A live, big band MJ tribute (so not typical ECM), and a most unusual one from an Italian trumpet player who'd paid Michael no mind until he saw a TV special by chance and became obsessed. Treatments of MJ tunes (and Chaplin's "Smile") range from Sousa marches to funk and places Jackson in a broader context than usual. First heard library copy picked up on a whim. 2) Trio Beyond - Saudades (ECM 2006). Another live tribute not in ECM's usual bag, this time to the Tony Williams Lifetime. Scofield, Goldings & DeJohnette aren't quite as abrasive ('in a good way') as Williams, Larry Young & McLaughlin were, but they do bring lots of energy and attitude. On one level much more 'like' its inspiration than #1 above, but still it's own thing. 3) Derek Bailey - Ballades (Tzadik 2002). Zorn convinced Bailey to do an album of standards, solo on acoustic, Bailey did one then said 'no, wait, I'm going to redo it' and gave us this stream of consciousness where nice old tunes peek into an ever morphing flow of concrete abstraction. 1st draught came out later (as Standards), and is fine, but this is otherworldly. Another one I first heard curtesy of the Multnomah County Library where I work. 4) Ornette Coleman - Sound Grammar (Phrase Text 2006). Not as great as the gig I saw with three bass players, but good enough to keep other players on their toes well into the next century. 5) J.D. Allen - Graphiti (Savant 2015). Young-ish tenor sax player (born 1972) has done lots of albums since his 1999 debut as a leader. This sax/bass/drums trio is the one that grabbed me. Has that Saxophone Colossus/Our Man in Paris swagger. May have first heard this on a library copy too. New original tunes, just played old! 6) Bobby Broom - Stand! (Preminition 2001). Yes, he does the Sly Stone title tune and a bunch of others of that era. Guitar, bass, drums; pretty 'straight ahead'. Quite magical. Why not? The're old tunes now/then when he recorded them. If you play them like the're standards; then they'll be, like, standards. 7) Rodney Jones - Soul Manifesto (Blue Note 2001). Also nominally new music, but kind of a throwback all the same. Features Idris Muhammad, Maceo Parker & Arthur Blythe. Grooving. 8) James Carter - Chasin' the Gypsy (Atlantic 2000). Django tribute on which he plays all different saxes, including bass. Fun record. 9) Regina Carter - Southern Comfort (Masterworks 2014). A fiddlin' tribute to her coal miner forbearers. Also plays on her cousin's record, #8 above. Much of the material is "traditional", which makes it the best recent folk album and unlikely to be recognized as such. 10) Mary Halverson & Bill Frisell - (Tzadik 2018). Two guitars, Debussy, folk music, standards; a tribute to Johnny Smith that makes him sound like he's melting. Walk, Don't Run, to get this mind-melter. 11) Lonnie Smith - All In My Mind (Blue Note 2018). Live with his regular working band. A little bit spacey, quite a bit greasy. Saw a gig very like this album. 12) Andrew Hill - Time Lines (Blue Note 2005). The last word from Alfred Lion's last great discovery. 13) William Bell - This is Where I Belong (Stax 2016). Another return to where he started, label-wise. All new except for a reinterpretation of his cowrite "Born Under a Bad Sign". 14) Shelby Lynn - Just a Little Lovin' (Lost Highway 2008). A Dusty Springfield tribute that dares to be quiet in a world maxed out on loud, basically a girl sitting by her stereo, singing along to get herself to tomorrow. I think this was another library discovery. 15) Willie Nelson - You Don't Know Me (Lost Highway 2006). Willie's tribute to Cindy walker, who may not have written anything else as exquisite as the title song, but who wrote (and cowrote) plenty of good ones. Willie no doubt played 'em coming up and does 'em proud here. 16) Willie & the Wheel (Bismeaux 2009). Asleep at the Wheel's presence means it's a Western Swing thing, but here they go for a pre-WWII sound making it a little different. I swear Willie knows his Country AND Western music state by state and year by year, if not month by month and county by county. 17) B.B. King - Let the Good Times Roll (MCA 1999). A Louis Jordan tribute with Dr. John and a Ray Charles band horn section. All kinds of fun. 18) The Rolling Stones (Polydor 2016). The record they'd threatened to make for decades. Maybe not as good as it could've been if they'd made it back then, but I'm still glad they did and it's pretty darn good. 19) Sonny Rollins - Without a song, the 9/11 Concert (Milestone 2001). He was close to ground zero and this is the next concert after...as he said, "Music can help." Yes it can. 20) John Scofield - Country For Old Men (Impulse! 2016). Blues of a different colour. Not as good as the gig I saw from the supporting tour, but still fine.

A rather IDEALIZED VIEW OF RURAL Saskatchewan.