danasgoodstuff

"I don't think the successes of something like Escalator can be understated--not just in the way of this doom-y, fun house mirror-type big band arrangement, but in the consideration and subtlety behind the genre play" I think this says the exact opposite of what you meant it to say, not unlike Carla's work sometimes?, and, like Allen's inability to get 'then' and 'than' straight, it makes the rest of what you say hard to take seriously. But whatever Carla's doing, I wouldn't call it dull, even when it's not of interest to me.

I too have been daunted by his vast catalog, and I'm impressed anyone at Sony is paying attention to Braxton at all.

This is the only performance of hers I've ever really loved, and I think it's the performance not the writing. Liked plenty of others, including others doing her tunes but Escalator and Tong Funeral remind me of the kind of crap people would babble on about when they were high in college.

Digging this!

This is, indeed, quite lovely and a good deal. Hope you don't regret this later!

I have a 15 CD box of Blue Note Boogaloo all worked out on paper, all they have to do is call me.

https://www.amazon.com/Songs-Our-Daddy-Taught-Learned/dp/B00GKOU8C0/ref=sr_1_2?s=music&ie=UTF8&qid=1525146422&sr=1-2&keywords=everly+brothers+songs+our+daddy+taught+us You'll want some version of Songs Our Daddy Taught Us (or A Teenager's Guide to Killing Your Girlfriend as one of the Bros. dubbed it), this one has earlier versions of the tunes on disc 2.

Studebaker probably built more classes of vehicles (heavy truck sales were tiny, for instance) than it should have, right up until Dec. '63 when the board decided to get out of vehicle production entirely and closed South Bend (they only continued on a limited basis in Hamilton so the dealers wouldn't sue them, the company survived after they got out of vehicle production entirely in '66) . But Stude then and Ford now are two very different things. Ford will continue with cars for other markets, right? So they could bring them back here...

After 47 pages it would appear that Randy Newman was, indeed, right...

I've seen him a number of times and own both leader and sideman recordings, but what sticks out in my mind is a duet gig with Bill F - totally telepathic, seamless flow through Jobim, Hank Williams, the Kinks, 'noise', etc.

Thanks, I'll look for it.

I got this and the one with Don Cherry, need me some more Johnny dyani!

...and he played with Little Walter, so he knew greens and blues!

Albert may not have remembered April (whoever she was) very well, but IMHO he played the shit out of Summertime - remembered things there that most would rather forget.

But will it intersect with Cypress Ave.?

With all due respect, that's your loss. Your perogies, but still your loss. I get that people think the 2nd Quintet is a step back from Ornette/Ayler/Cecil, but to me it totally makes sense as the next step - we can be as free as we want to be and the tune's still there, just as much as the AACM being the next step. The 2nd Q is some pretty abstract stuff: it is to most jazz as most jazz is to square music. Herbie is the right player for that band and that band let him find full Herbie. As a more straight forward groove player, no he's no better than any number of other guys in that bag, although no worse than many either. And Filles and what came after came from the 2nd Q, one step at a time - not the only way 'it' could've gone, so there is something to explore there even if mostly not well explored by those who came after. And was any band picking up on their ques before the Kenny Cox Q?

I had a long-ish conversation with someone once where I was saying "...'herbie, man'..." as a way of mocking the stort of thing which someone else might say about Hancock in his then current Headhunters period, an he thought I was saying "Herbie Mann" and eventually I just gave up. And, not just to be difficult, I'd say I like Herbie's range on BN more than any particular album or tune and he's not overrated to me - even though I'm not crazy 'bout everything, the 2nd Quintet alone means I'll never think that way.

Blue John (Patton) was the first place I heard Geo. Braith, and still by far my fav although I enjoy the BNs under his name. Given that, do I want either of the Prestige?

Thanks for reminding me - I went and listened to my copy on Dragon, I love that shit!

"I'm Depending On You", "Mary's Little Lamb" and "Don't Leave Me This Way" are non-album B-sides not on any standard album IIRC and 2 out of 3 are quite nice. I have everything except one of the pre-Stax singles and the subject of this thread. Even Remember Me from 1992 had some wonderful stuff on it.

I was starting to think I'd killed this thread by going too personal! Otis is someone I', pretty completist about so the box recommend above makes sense to me but does it have the nonalbum B-sides?

That's funny, I played some Zorn for a friend decades ago and he's still complaining about it!

as noted above, Bley played with all kinds of sax players

If Bley had been on Blue Note, he could've made records with Sam Rivers and John Gilmore and Charles Tolliver and Woody Shaw. Or Jackie McLean and Tony Williams. Shame they didn't get Cecil and Cherry to boogaloo, seriously!

Oh, I don't think Rajah is dull at all, although it's the Cal Massey tune that's the highlight more than the title tune. The Geo. Coleman/Julian Preister Lee Morgan date, yeah OK that's kinda lackluster BUT it's still release quality to me. When Alfred was still running things they'd have switched drummers and come back next week - happened more than once.