JSngry

K. Drew, NHOP, Albert Heath.

Everybody expected Sonny to come back with a "new approach" in '61 or whenever it was. He didn't. He came back with a perfected old approach and rapidly showed how advanced his technique had become in the interim, how those "abstract" ideas he toyed with in the late '50s could now be fully & confidently exponded upon. That says to me that his oft-expressed dissatisfaction with his abilities was real, and that "bridge" sabaatical" was about improving as a player. None of which is inconsistent with any "feeling the heat" from Trane (with whom he was already a longtime friend, as I understand it) or anybody else. If anything, it's wholly consistent with it in that if you feel the need to compete and you get the sense that the bar is about to be raised, you take it upion yourself to go away and hone your skills as much as they can be honed so you can play your game best - not somebody else's as it can be played. Too much misunderstood emphasis has been placed on the "gladiator" aspect of jazz. Except for a few really malicious individuals (and Sonny at one point, around markedly lesser players, might have been one of them...he makes no qualms that he used to be one evil cat), the competition, which is very real, is ultimately not about destroying others but about making yourself better/stronger. Or at least it used to be. Rollins & Trane had a love for each other, dig? There was no "Everybody thinks this cat's better than me, I gotta knock him out" attitude. It's more like, "Hey, Trane is really bringin' it. I better up my game if I want to stay in the ring" Fwiw, those Moon sides of Newk in Denmark from 1968 are just about the most at-peace-with-myself Rollins I've ever heard. Simply amazing, they are. And good Rollins of the last 35 or so years is some of the most purely joyous music I've ever heard. So the journey, no matter how strange & erratic it has been, has been rewarded.

At one point they were released (don't remember if on Crown or not) with personnel listed on the front of the cover.

Why should everything always be the same, every day, forever?

That's some funny shit!

Bunny Briggs?

Finally found those two in FW, late '70s. Delightful I got thru mail-order. Ten bucks or something like that.

It was a killer single LP... Get the Silver City box for the best of the 70s/80s stuff, Shortest distance between two points.

Yeah, only Verve & MGM were separate entities at the time. But htats for the ners. I always found it weird that Brass/Trio was sorta always there in reissue form (remember all the sensibly priced Japanese Verve LP imports of the late 70s/early 80s?) but the Music Inn date was treated like it never even existed. Even during the CD boom it was ignored until the VME, and then tacked on as an afterthought. But that was before I learned that it was only half a lp... Listening to it now, and...it's ok, but...Sonny sounds like he's accommodating Lewis & Kay (and oh BTW, no Bags on these cuts, I forgot about that). Maybe it was the setting, maybe it was the accompaniment,I don't know, but it doesn't sound like unfettered Sonny to me...like the mind is really free. "Limehouse" is like he's practically begging Kay to join in, and then when he doesn't (no snare drum, wtf?), downshifts into an A+ version of B+ Rollins. Or the other way around...Gorgeous tone on "You are Too Beautiful", though. To die for. The thing I've noticed about Rollins from 58 & 59 is that you can often hear him start to flirt with more abstract phrasologies & tonal shadings, but then he pulls back and goes into what by then was becoming some (for him) pretty predictable mechanisms...as if he knew where he wanted to be but didn't yet have a handle on it yet, which makes the sabbatical perfectly logical, as does the staggering virtuosity of the best 60s work, where abstraction and hard swing are often present in devastating measure.

7 CDs is too much for me, but damn, Bing Crosby is worthy, make no mistake. Now, when can we get some Ethel Waters?

Ok, the other Rollins/MJQ side (not counting the earlier encounter on Prestige...): Sonny Rollins At Music Inn/Teddy Edwards at Falcoln's Lair With Joe Castro Metrojazz SE 1011 Only place to get it (and w/o the Teddy Edwards half of the album (still not on CD at all AFAIK, at least not legitmately) is on the VME of the Big Brass date, wher is is all but ignored in the packaging and barely touched upon in the liner notes. French 10" LP, minus the Teddy Edwards cutes:

Nope, the Big Brass album is another one altogether, at least as an LP. One side w/big band (ar. Ernie Wilkins), the other a trio w/Grimes &...who? I forget... but the other Music Inn date w/the MJQ was origianlly half a side of a Metro LP (IIRC) & only saw CD issue as part of a Big Brass reissue...one fo the Verve Deluxe Editions, or what ever they called them....

There was one on Verve (Metro, actually, IIRC) too...but not as good as the one on Atlantic, although truthfully, both are towrds the bottom "go to" Rollins list...the "thematic improvisation" tact had begun to become a little sefl-conscious to my ears (and in Sonny's later acknowledgement), & Lewis' comping feeds it even more. but stuill, they're better than a lot of other things by other people nevertheless

I'm wondering how much of an original pressing run they kept on hand at HQ, and how much they sent out straight to distributors. There's also gepographic consideratins as well...I'm sure that the urban northeast distributors got more up front than did other parts of the country.

That's another one that was a real bear for me to find to find in the 70s. Charisma, too. Seems like those three came and went w/o much residue...

http://www.newburycomics.com/ http://www.amazon.com/gp/help/seller/at-a-...r=A96CQQZGK78UG

What you're asking is for how long did rack-jobbers had access to titles like this in case some geek like me walked into a mom & pop and placed a special order and the jobber's usual channels didn't have any stock on hand. That's a good question!

So that's what that Paul Simon song is about! Who knew?

No ideas, but I saw the thread title and thought it was about looking at Facebook on a Palm, which would be substantially less interesting a topic... No suggestions, (don't know the tunes, never really got the Metallica bug (but my son sure did, so I know the basic vibe, but that's about it) but one of my "stock" approaches to challenges like this is to deconstruct the melody & then set about putting it back together with different phrase displacements, etc. If it's no longer immediately recognizable, so much the better - sometimes. Then, once you have a melody that is divorced from the original context, you can treat it as something "original" and go from there. Then, if you want to make it more recognizable, you can tweak it back as much or as little as you want/need to. Depends on where you want to go, who you want to go there with, and why you're going there in the first place. That's one way to do it, just one. Take it for waht it's worth, and hopefully you'll find your own way, all the way. Good luck!

At list prices of $3.98 & $4.98, you'd have had a damn good chance to, eventually.... Chuck, I was aware of the 67-68 purge, but wasn't there another one a few years after as well?

Dude...in most of Plano you could maybe get in under those circumstances, but getting out with some loot without calling attention to yourself would be pretty hard...this is a community very much built with the suburban "grid" style. Alleys behind every house, not a big lot of space between houses...if you're looking (and I assume that some cops will be looking and not just hanging out), you can pretty much see everything that goes on outside of the fences, including breaking in or leaving.