danasgoodstuff

Seems to me that there are several rather different styles displayed here, presumably they all have their own (sub)genre designation, no?

Nice to see an (presumably) accurate and detailed discussion of the musical particularities involved, and a recognition that the legal, aesthetic and moral issues are (at least) three different things. Next step would be to use these to dig into the evident disconnect between what musicians think the're doing and what their audience thinks the're doing... Back to the topic at hand, seems a much weaker case than the Jake Holmmes (?) has never brought (?) for Dazed and Confused, or the ones they settled with Willie Dixon's people - it's just a somewhat similar guitar intro, which was only sorta Spirit's to start with, that they could have had other sources for, and really how much did that contribute to the success of the song as a whole, either musically or commercially - I'd say what sold the song more than any of the details was the overall build-up from quiet beginning to pounding end, and that's been done a million times too...

But before that, you can always, always tell Bird by how many "there's" there were in one solo. Nobody else had that many (and let's also consider timral variety, not "tone", but how much color-shading you can put in your line, you'd be surprised how many flatliners there are in that regard, and today, hell, it's a fucking plague, I cannot listen to all these people who flatline their way throug a bunch of theoretical twists and turns and not one really vary their timbre of even their interior pulse, just FWEEDLEEEDLEEEDLEEEDLEEEDLEEEDLEEEDLEEEDLEEEDLEEEDLEEEDLE STOP IT,MUSIC IS A LANGUAGE PLEASE STOP MONOTONEDRONING ME TO PAST-DEATH, YOU HAVE MADE ME HATE JAZZ!!!!!)., but Sonny was getting close on these records. And Monk was directing traffic, like only Monk could. Monk could comp like a freakin' genius composer/conductor, uh, wait, he was a genius composer/conductor. This: yes, oh hell yes! (and, by the way, this is why Branford is wrong about Fathead not being jazz...)

So, how much money has White Christmas generated for Irving Berlin and his heirs? Even if it's jujst a few cents per copy sold, thats times 50 million for Bing's recordingplus all the other versions - what, 50 to 100 million more? Intellectual property, better than owning real estate...

Surprising he he didn't record with Dudu Pukwana, Mike Osbourne or Trevor Watts - at least not as far as I know Three pretty significant saxophonists of the 70's and 80's Don Cherry did record with Dudu Pukwana on Johnny Dyani's Song for Biko album. Thanks Me needs to look for that CD. On steeplechase, I think.... Yes. And, as Chuck (I believe) pointed out some time ago, the CD has a cut that the LP lacks. Yes, I failed to mention Dudu Pukwana but I do have it and it's quite nice, as is everything i've heard of Dyani

Don Cherry deserved some kinda MVP award, is there any significant sax player even spitting distance to the A-G he didn't record with? (Ornette, Sonny, 'Trane, Ayler, Gato, James Clay, Pharogh, etc.) It's like blue Mitchel and organ players...wish Lester Bowie had done more of that, not that there's anything wrong with his regular gig, but I likes me some variety too (spinning off course into near incoherence).

Any Bill Hardman is good to find, and better to listen to.

someone's getting pegged at $210 million for a stadium and $93 million would be roughly $90 CND for every person in Saskatchewan!

You Auto Buy Now!

Conceptualizing/defing GAS in a way that ensures that it's over is cutting off your nose to spite your face (or something ruder, if you prefer). i couldn't care less about debating the 'last gasp' of that...but I do care about great american songs and songwriters and I don't know that that's over yet...could be but I don't track current songwriting well enuff to say. But any book of great american songs that doesn't include any number of things by Willie and Smokey and bacharach and others who usually don't get a listen by the GAS-bags, that's completely useless to me. Being played by jazz guys is not the measure of great songwriting, in my book. And one last thing, this GAS/where did all the good songs go thing is that I feel very strongly that it is/was a bit of a self-fulfilling prophesey

That would some good lovin' in my book!

They should've called that Houston Person album Wedgie!

"with exclusive offerings" - does this mean we'll get The Trainwreck or Grant Green outtakes or _________?

The're doing Donna Summer?!

I have that record, bought it just for the cover, and...there's an appealing corniness to it, like some old-timey trumpet player who sounds like he came by it honestly, in real time, if you know what I mean, like it's not the guy that's making himself sound corny, it's just the passage of time. I think /i only paid a buck for it, and I'd not recommend spending too much of that if you should ever see it, but I was expecting some pre-fab yehbeer elevatist music, and, actually, no, not at all. and it's an infinite regress, just like the the sippy cup with the picture of a bear holding a sippy cup with a picture of a bear holding...

Now that you mention it, I do recall liking Makin' Love Is Good For You. Maybe I need to listen to it again to decide how much I liked it; it may be the last album of his I liked unreservedly. I haven't heard the album with Eric Clapton and I think I checked out Reflections from the library once, but I don't recall much about it, so it must not have made too much of an impression on me. I have his tribute album to Louis Jordan, Let The Good Times Roll, and it's fun and fine for what it is. His Christmas album was okay, but his voice was definitely showing some wear and tear by that point. I love Let the Good Times Roll, but then I like tribute albums generally, love Louis Jordan & BB, and it's BB with a Ray Charles horn section, so what's not to like? Not so big on One Kind Favour, but I got burned out on T-bone Burnette a long time ago....

I beleive my grandmother, Frances Scott, would have been working there then too.

For how long?

Sometimes I wonder/How I keep from going under

Albert Ayler

Billy Stewart, "Summertime"! It's over the top of 'over the top'.

As a personal favs thing, it makes more sense than two "50 greatest drummer' things purporting to objectivety I saw recently that both omitted Al Jackson of the MGs.

What's Shakin'?! on Elecktra, circa 1966: 5 by the Butterfield Blues Band, 3 by Clapton/Bruce/Winwood, 4 by the Lovin' Spoonful, all exclusive to it at the time. Cordon Blue on UK(?) BN, all tunes with food related titles, silly concept but surprisingly listenable.

Given Don Was's neo-populist proclamations regarding current BN, it's a little surprsing that there's so little grease or otherwise overtly populist musics on this BN 100 list, less surprising that the A-G gets stiffed too, but equally sad. More to the point, I think the're misjudging youngish hipster tastes with this list/reissue campaign...

I used to listen to that Westbrook/Blake thing on a regular basis - jazz and acutally GOOD poetry!