danasgoodstuff

I've got a thought for you - the most radical thing about R n R vocal groups was that they made the backgrounds more important than the leads, "Dum Dum, dum ah do dum..." democracy in action, so to speak.

Maybe they could be jointly inducted with the Sonics - two very different reaction's to Tacoma's drizzle.

http://rockhall.com/inductees/ Los Lobos can play circles around the others, not that that's exactly the point in Rock 'n Roll, but still...

Interesting, must investigate...thanks.

http://www.pledgemusic.com/projects/ornettecoleman looks interesting, if kinda pricey.

http://assets.law360news.com/0702000/702339/lenz.pdf Haven't read it yet, but looks interesting.

Cigarette holder, which wigs me/Over her shoulder, she digs me

OK, so maybe not the worst ever, but bad enuff...and how in the world do you inadvertently play too many imports twice? Saskatchewan!

I once read an absolutely glowing review on the DG site of a Horace Silver play-along record. (They weren't reviewing it as a play-along record, but as a record for regular listening.) Still, I love those guys. You just have to ignore much of their commentary. They are the Kings of Unintentional (if not unconscious) Hyperbole...

It was mentioned on the Albert Ayler site which I try to check every month http://www.ayler.co.uk/html/what_s_new.html

This must be the 'Riders' worst season ever, no?

http://inpressbooks.co.uk/collections/northway-books-1/products/music-to-silence-to-music-a-biography-of-henry-grimes does anyone know anything about this?

Thanks for the heads up on this, those two truly had a thing going on (Musically speaking).

This is the authorised version of rock history - akin to the idea that the financial collapse of the late noughties was caused by the British Labour Party. I'm not sure 'cultural' areas ever 'need' anything...but change happens. Sometimes what is written as the 'cultural' history of specific areas of the 'arts' like music is little more than the history of when the media paid attention. I think we're largely on the same page here in principle, as different as our responses to specific pieces of music may have been or continue to be....

I love that you remember your card #!

It's also kind of what CBS did with the Miles singles of that era...kinda.

"I started to get more curious when my interest in rock started to dry up around 75/76. I found it tough at first - most jazz tracks tended to start in a mood and stay there. I was used to prog-rock tracks that would have huge textural changes every couple of minutes. But it clicked after a while. Oddly the electric-Miles'n shades did not appeal at all. I bought Bitches Brew in late '76 and hated it - although I could appreciate the musicianship I couldn't cope with the endless playing over one or two chords. It was a chance hearing of 'KInd of Blue' that got me listening to Miles. I didn't go near the electric stuff until the 90s (I am now a convert!). " Not to pick on you, but I'm sure you realize now that Kind of Blue is endless playing over one or two chords and that Bitches has way more textural variety...

Or maybe, just maybe, it will humanize him once we've all seen the nuts 'n bolts...

Esquire was racy in the 40s & 50s, racy by the standards of the time, then they went one way (largely empty pretense, IMHO) and the standards went another (south, so to speak).

Great rhythm section, of course, but Woods more than holds his own. I've told my story 'bout playing his Warm Woods LP in the Electric Fetus before haven't I? I'm not sure but I'd love to hear the story. RIP, maestro, and thank you. Not sure about the rhythm section`s greatness or the "Maestro holding his own" ? Not sure if I've heard story about Warm Woods and the Electric Fetus record store. Ok When I worked at the Electric Fetus in Mpls many years ago we put a side of Warm Woods on one slow day - there were 4 groups of customers in the store - some singles, some couples - and not all browsing the jazz aisle either. Before the LP side was over every group had bought a copy; best ratio of sales to customers for in in-store play ever, IIRC. I didn't mean to imply that Phil wasn't on the same level as the Booker Ervin Books rhythm section, just that they had been formed for other purposes and I wouldn't have guessed how well they work together, but they do and all credit to all concerned.

"The triangle of Jamal/Lewis/Harris is an intriguing one, not least of all because I think they appealed to much the same audience, and maybe had the same veneer, but good lord, when dissected, their musics could not be more dissimilar! Jamal's trio had all these "odd" things happening and were full of spaces, Ramsey was ALL about no tricks no gimmicks, and, really, not too many spaces, and The 3 Sounds sorta split the difference, no tricks no gimmicks, but a great deal of sophistication, spaces as needed, like breathing, as well as roots deeply planted in the earth." Thanks for taking my cryptical analysis seriously and running with it - I agree, they are quite distinct flavours. Never been able to get into the later Ramsey Lewis Trios, I'll take Young/Holt Unlimited (RL Trio w/out RL) over them (RL w/out The Trio) any day, YMMV obviously. The Giuffre/Bley/Swallow trio is lovely, but a very different critter than we're discussing here, no? The Bad Plus seem to want to be doing something RL/AJ/3sounds-ish, but IMHO somehow they aren't - thoughts?

Let me put my vote in for 3 trios that were more or less equilateral triangles - working bands where each member was important to the overall sound and the whole was more than the sum of it's parts - to wit: the Ramsey Lewis Trio, the Ahmad Jamal Trio, and The Three Sounds.

Interesting thing about those downbeat readers (and critics) polls is that the're not really any/much 'hipper' (whatever that is) than the Playboy Readers.

Great rhythm section, of course, but Woods more than holds his own. I've told my story 'bout playing his Warm Woods LP in the Electric Fetus before haven't I?

Thank god, the Riders finally won a second game this year!