Rooster_Ties

That "Brilliant Circles" cover is very cool!! OK, here's a radical idea..... What if Miles had been on Blue Note, starting in 1965with E.S.P., on up through Jack Johnson or so. I mean, at least in the case of the '65-'68 material, everybody in that band was a regular on Blue Note (except Miles), and even most of the '68-'71 Miles sidemen were found on various Blue Note albums, and even were leaders on several. SOoooo..... your next assignment, if you choose to accept it, is to visualize what some of the various Miles albums might have looked like on Blue Note starting with the 2nd great quintet (1965) on up to the early 70's. I know, I know -- I'm rewriting history. But this is fun (or at least I think it is), and I'm loving the output of all your Photoshop experts. And really, is it all that impossible to imagine Miles on Blue Note in the mid-to-late 60's??? PS: Nice typo, Jim.

The Blues™, executive produced by Martin Scorsese, consists of seven feature-length films that capture the essence of the blues while exploring how this art form so deeply influenced music and people the world over. The series begins with the journey from Africa to the Mississippi Delta — where the music grew from slaves' field hollers, work songs and spirituals — then travels up the Mississippi River to the juke joints, house parties and recording studios of Memphis and Chicago, and culminates with the emotional embrace of this African-American creation by musicians and people throughout the world. "The blues is at once American and worldly," said Martin Scorsese, who began work on the project six years ago. "It's a form of storytelling that is so universal that it has inspired people beyond our borders and continues to influence music here and abroad. We're hopeful that the series and YEAR OF THE BLUES will introduce new audiences worldwide to this music and also inspire kids, whether they like rock or hip hop, to better understand the struggles and genius that gave birth to what they listen to today." "Our goal never was to produce the definitive work on the blues," Scorsese added. "It was, from the start, to create highly personal and impressionistic films as seen through the eyes of the most creative directors around with a passion for this music." The Blues is the culmination of a great ambition for Scorsese — to honor the music he loves, to preserve its legacy and to work closely with talented feature film directors united in their desire to celebrate this art. Go behind the scenes for more information on The Blues, with film synopses, director bios and transcripts, video clips, musician bios, and a discography for each film. Directed by Martin Scorsese Written by Peter Guralnick Director Martin Scorsese (The Last Waltz, Raging Bull, Gangs of New York) pays homage to the Delta blues. Musician Corey Harris travels through Mississippi and on to West Africa, exploring the roots of the music. The film celebrates the early Delta bluesmen through original performances (including Willie King, Taj Mahal, Otha Turner, and Ali Farka Toure) and rare archival footage (featuring Son House, Muddy Waters, and John Lee Hooker). Says Scorsese: "I've always felt an affinity for blues music — the culture of storytelling through music is incredibly fascinating and appealing to me. The blues have great emotional resonance and are the foundation for American popular music." Performances in Feel Like Going Home Corey Harris John Lee Hooker * Son House * Salif Keita Habib Koité Taj Mahal Ali Farka Toure Otha Turner Muddy Waters * Keb' Mo' Willie King Lead Belly * *indicates archival performance Interviews in Feel Like Going Home Corey Harris Sam Carr Toumani Diabate Willie King Dick Waterman Taj Mahal Johnny Shines * Otha Turner Ali Farka Toure Habib Koité Salif Keita Keb' Mo' Written and directed by Wim Wenders Director Wim Wenders (Buena Vista Social Club; Wings of Desire; Paris, Texas ) explores the lives of his favorite blues artists — Skip James, Blind Willie Johnson, and J. B. Lenoir — in a film that is part history and part personal pilgrimage. The film tells the story of these artists' lives in music through a fictional film-within-a-film, rare archival footage, and covers of their songs by contemporary musicians, including Bonnie Raitt, Lucinda Williams, Lou Reed, Eagle Eye Cherry, Nick Cave and The Bad Seeds, The Jon Spencer Blues Explosion, Cassandra Wilson, Garland Jeffreys, Los Lobos, and others. Says Wenders: "These songs meant the world to me. I felt there was more truth in them than in any book I had read about America, or in any movie I had ever seen. I've tried to describe, more like a poem than in a 'documentary,' what moved me so much in their songs and voices." Performances in The Soul of a Man T-Bone Burnett Nick Cave and The Bad Seeds Eagle-Eye Cherry Shemekia Copeland The Jon Spencer Blues Explosion Alvin Youngblood Hart Skip James * Garland Jeffreys Chris Thomas King J.B. Lenoir * Los Lobos John Mayall * Bonnie Raitt Lou Reed Vernon Reid Marc Ribot James "Blood" Ulmer Lucinda Williams Cassandra Wilson *indicates archival performance Cast: Skip James: Keith B. Brown Blind Willie Johnson: Chris Thomas King Directed by Richard Pearce Written by Robert Gordon Director Richard Pearce (The Long Walk Home, Leap of Faith, A Family Thing) traces the musical odyssey of blues legend B.B. King in a film that pays tribute to the city that gave birth to a new style of blues. Pearce's homage to Memphis features original performances by B.B. King, Bobby Rush, Rosco Gordon and Ike Turner, as well as historical footage of Howlin' Wolf and Rufus Thomas. Says Pearce: "The Blues is a chance to celebrate one of the last truly indigenous American art forms, before it all but disappears, swallowed whole by the rock and roll generation it spawned. Hopefully we'll get there before it's too late." Performances in The Road to Memphis Fats Domino * Rosco Gordon * B.B. King Little Milton Little Richard * Bobby Rush Ike Turner Howlin' Wolf * The Coasters * *indicates archival performance Interviews in The Road to Memphis Bobby Rush B.B. King Rosco Gordon Rufus Thomas Calvin Newborn Hubert Sumlin Chris Spindel (WDIA program officer) Don Kern (WDIA Production Manager) Dr. Louis Cannonball Cantor Cato Walker III Little Milton Campbell Sam Phillips Ike Turner Jim Dickinson Written and directed by Charles Burnett Director Charles Burnett (Killer of Sheep, My Brother's Wedding, To Sleep with Anger) presents a tale about a young boy's encounter with his family in Mississippi in the 1950s, and intergenerational tensions between the heavenly strains of gospel and the devilish moans of the blues. Says Burnett: "The sound of the blues was a part of my environment that I took for granted. However, as years passed, the blues slowly emerged as an essential source of imagery, humor, irony, and insight that allows one to reflect on the human condition. I always wanted to do a story on the blues that not only reflected its nature and its content, but also alludes to the form itself. In short, a story that gives you the impression of the blues." Performances in The Warming by the Devil's Fire Big Bill Broonzy * Elizabeth Cotten * Reverend Gary Davis * Ida Cox * Willie Dixon * Lightnin' Hopkins * Son House * Mississippi John Hurt * Vasti Jackson Bessie Smith * Mamie Smith * Victoria Spivey * Sister Rosetta Tharpe * Dinah Washington * Muddy Waters * Sonny Boy Williamson * *indicates archival performance Directed by Marc Levin Director Marc Levin (Slam, Whiteboys, Brooklyn Babylon) travels to Chicago with hip-hop legend Chuck D (of Public Enemy) and Marshall Chess (son of Leonard Chess and heir to the Chess Records legacy) to explore the heyday of Chicago blues as they unite to produce an album that seeks to bring veteran blues players together with contemporary hip hop musicians. Along with never-before-seen archival footage of Howlin' Wolf, Muddy Waters and the Paul Butterfield Blues Band, are original performances by Koko Taylor, Otis Rush, Magic Slim, Ike Turner, and Sam Lay. Says Levin: "When we were shooting Sam Lay and his band at the Chicago Blues Festival, they were playing Muddy Waters' classic, 'I Got My Mojo Workin.' I closed my eyes and was transported back to when I was a 15-year-old hanging in my buddy's basement listening to the Paul Butterfield Blues Band for the first time. My life was changed that day, and 35 years later the music's still shakin' my soul. The feel of that day in the basement is what I have set out to capture in this film." Performances in Godfathers and Sons Lonnie Brooks Paul Butterfield * Common Chuck D and Public Enemy * Bo Diddley * Sam Lay Ike Turner Pinetop Perkins Otis Rush Magic Slim Smokey Smothers Koko Taylor Sonny Terry * & Brownie McGhee * "Electric Mud Band": Pete Cosey, Phil Upchurch, Louis Satterfield, Morris Jennings Kyle Rahzel and Ahmir (a.k.a. ?uestlove) of The Roots Muddy Waters * Sonny Boy Williamson * Howlin' Wolf * Willie Dixon * Blind Arvella Gray * Carrie Robinson * *indicates archival performance Interviews in Godfathers and Sons Marshall Chess Chuck D Jamar Chess Phil Chess Koko Taylor Magic Slim Common Sam Lay Directed by Mike Figgis Director Mike Figgis (Stormy Monday, Leaving Las Vegas, Time Code) joins musicians such as Van Morrison, Eric Clapton, Jeff Beck, and Tom Jones, performing and talking about the music of the early sixties British invasion that reintroduced the blues sound to America. During the 1960s, the UK was the location for a vibrant social revolution. London, Liverpool, Birmingham, Manchester and Newcastle all had their own music scenes. Musicians from Belfast and Glasgow moved to London to be part of the club scene there. The post-war traditional jazz and folk revival movements produced the fertile ground for a new kind of blues music — entirely influenced by the authentic black blues of the USA, and, for the most part, entirely ignored by the good citizens of the US. It was new in the sense that certain key musicians took the blues and molded it in an entirely personal way to fit the new awareness of the UK in the sixties. Importantly, for the most part they continued to pay homage to the originators of the music and to make a huge global audience aware of the likes of Robert Johnson, Muddy Waters, Howlin' Wolf, Freddie King, etc. Mike Figgis' film examines the circumstances of this vibrant period. Figgis himself participated, albeit in a minor way, in this period of history, playing in a blues band with Bryan Ferry, a band that was the nucleus for the first Roxy Music. A series of musical interviews with the key players of the blues movement is augmented with a live session at the famous Abbey Road recording studios. Tom Jones, Jeff Beck, Van Morrison, and Lulu all improvise around some classic blues standards, accompanied by a superb band made up of younger and not-so-younger-musicians. The results are electrifying. Says Figgis: "I'm interested in why there was such excitement about this black music among Europeans. To that end, I've put together a group of these musicians, augmenting the line-up with some younger talent as well. Hopefully the resulting recording session of some blues standards, and the discussions that follow, shine some light on why at a particular moment the blues was reinterpreted abroad and reintroduced in a new form that was universally embraced." Performances in Red, White & Blues Jeff Beck Big Bill Broonzy * Cream * Lonnie Donnegan Georgie Fame Chris Farlowe Tom Jones B.B. King Peter King Alexis Korner * Albert Lee Lulu Humphrey Lyttelton Sonny Terry * & Brownie McGhee * Van Morrison Rolling Stones * Sister Rosetta Tharpe * Muddy Waters * Lead Belly * Jon Cleary *indicates archival performance Interviews in Red, White & Blues Tom Jones Jeff Beck Van Morrison John Porter Humphrey Lyttelton George Melly Lonnie Donnegan Chris Barber Eric Clapton John Mayall B.B. King Albert Lee Chris Farlowe Bert Jansch Eric Burdon Stevie Winwood Davey Graham Georgie Fame Mick Fleetwood Peter Green Directed by Clint Eastwood Director — and piano player — Clint Eastwood (Play Misty for Me, Bird, Unforgiven) explores his life-long passion for piano blues, using a treasure trove of rare historical footage in addition to interviews and performances by such living legends as Pinetop Perkins and Jay McShann, as well as Dave Brubeck and Marcia Ball. Says Eastwood: "The blues has always been part of my musical life and the piano has a special place, beginning when my mother brought home all of Fats Waller's records. Also, the music has always played a part in my movies. A piano blues documentary gives me a chance to make a film that is more directly connected to the subject of the music than the features that I have been doing throughout my career." Performances in Piano Blues Marcia Ball Dave Brubeck Ray Charles Jay McShann Pinetop Perkins and many more!

Hey, maybe if this becomes a Blue Note they'll RVG it and fix the crappy sound! If only this could actually happen...

Very cool. Here's another couple to create "Blue Note"-ish covers for... Stanley Cowell - Brilliant Circles (Sept. 1969), with... Woody Shaw Tyrone Washington Bobby Hutcherson Joe Chambers Reggie Workman Since all these guys had recorded for Blue Note in the late 60's, though none of them got to lead their own sessions (except Tyrone). And also, how about... Bobby Timmons - The Soul Man! (Jan. 1966), with... Wayne Shorter Ron Carter Jimmy Cobb

Chicken_Socks just didn't have the same ring as Rooster_Ties

Great CD. Conn500, you should really like this one. I love it.

PS: All you "Photoshop"-savvy guys need to check out this thread: link: Create covers for albums that MIGHT've been on BN, but weren't. (Tolliver, Shaw, etc...) Thanks!!!

Man, I think I like ALL of the homemade "Mother Ship" covers in this thread, better than the new one they came up with. Not that I hate the new one, but I do like that "contemplative" photo of Patton quite a bit better than the "ultra-happy" one that Roques used. (At least in association with this particular session.) But, I am rather happy with the new Andrew Hill cover (see my Avatar, at least for about the next 30 days). As far as "Sonic Boom" goes, from what I can tell (from the tiny image we've got, so far), it seems like a cover more appropriate for a Lee Morgan album in about 1963 or '64, rather than '67 and '69 (when the two sessions from the new disc actually occurred).

OK, it’s clear to me from some other recent threads on this board, that a few of us here (not including myself, alas) have quite the touch for creating some really cool “faux” BN album covers. SOooo, I can't help but request that some of these skills be put to good use in creating some classic BN covers for albums that "might have / could have / should have" been on BN back in the day, but weren't. My requests are... Charles Tolliver - Paper Man (recorded in July of1968) with... Gary Bartz Herbie Hancock Ron Carter Joe Chambers Woody Shaw - Cassandranite (recorded in December of 1965) with Joe Henderson Larry Young / Herbie Hancock Ron Carter / Paul Chambers Joe Chambers First, let’s open the floor for suggestions for photos of Charles and Woody sometime in the 60’s, to start things off. Ideally the Tolliver picture would be in color (since it would be a cover from ‘68 or ‘69), and the picture for Woody could be either color or B&W, although I would think B&W could maybe be more appropriate – given the presumed timeframe of the release (circa ’65 or ’66)

Hen3ry After a fellow I used to know who's name was Henry, only to give you an idea of what an individualist he was he spelt it HEN3RY. The 3 was silent, you see. (Quick -- and NO googling!!! -- where does "Hen3ry" come from?? Surely somebody on this board knows the answer to this. Hint - it's from the 1950's.)

Geez, last night the local news on our NBC affiliate had the J-Lo and Ben story, and promoted the shit out of it. It was included in every “on tonight's news at 10pm” promo (meaning the regular half-hour-long news at 11pm, for you east-coasters) during the entire two hours prior to the news (during the Conan O’Brien 10th anniversary special). And then they did a tease for it in their opening for the news, and teased again before the first commercial break, and then again during the commercials, and finally had the story after the first break, BEFORE the serious "national/international" news stories of the day. What the hell!!! Who gives a flying fuck about this story THAT much, such that an entire local news broadcast is built around it.

Anything happen while I was gone??? Are we there yet????

Well, Moose, when the remastered version of the single disc of Jack Johnson comes out, you really ought to check it out. It's probably one of my top-5 Miles discs, or so I've claimed for over 10 years. The first 10 minutes of side 1 is worth it's weight in gold.

Since it's still Sept. 11th...

So, where's the new cover for "Mother Ship", and are we there yet???

Now that's ugly.

I guess everybody's too lazy to give a flip about somebody sullying the good name of Andrew Hill. Hell, I've gotten thrown out of bars for less egregious behavior (and if you believe that... ).

AAJ is still down. Shheesh!!! Must be kinda ugly, whatever it is they're doing to get it back up again.

WTF???

The show's not for two more weeks!! But if you really wanna get a front-row seat THAT badly, I guess there's nothing to say you can't be the first in line, whatever the cost.

Wasn't the most recent White Stripes album produced for something like about $8,000??? The AMG review doesn't mention anything about the cost to record the album, but I know I heard or read that somewhere.

few more... 1999 Dodge Viper concept station wagon (two different concepts) 19?? Jaguar XJS HE V12 Eventer shooting brake (station wagon?)

How about some of these??? "1995 Aston Martin Virage shooting brake (station wagon)" 1998 Buick Signia concept crossover/station wagon 1998 Honda Prelude concept station wagon 1999 Chrysler Citadel concept station wagon 1999 Chevy Nomad concept station wagon 1999 Subaru Fleet-X concept station wagon