JSngry

Yeah, there's a few of the records over the years that I like, namely "Little Sister", "A Fool Such As I", and "Burning Love", but overall....ehhhhhh. The Sun stuff, I can abstractly grasp the "importance" of it all, but other than "That's All Right....", it mostly seems more sloppy to me than anything else. Not even sloppy so much as just lacking a groove of any sort. Even the RCA stuff, after they knew what they were going for, it just lacks a pocket to me. And I do recognize that different people have different types of pockets. But jeez, listen to "Teddy Bear" or "Return To Sender" or any of that "classic" stuff, and there's just no...SWING there, anywhere, other than what Elvis is able to bring, which is enough to make it not sound like Pat Boone, but hell, if THAT's all it takes to be a Rock & Roll God, then, uh, I picked the wrong line of work...

Tell me more.....Tell me more.....

I've heard it -all the Sun stuff, all the hits, too many of the soundtracks, the gospel stuff, the comeback and beyond things, pretty much all of it, and I remain unimpressed and unmoved. Obviously I am in the minority on that, but oh well about that. I grew up Southern, like plenty of "white" artists, and have no problem whatsoever with "hillbillies" or Pop or Country music, so I'm not demographically predisposed to reject Elvis on principle. I just don't connect with Elvis at any level and personally find all the fuss about him....puzzling. Sociologically it makes some sense, but musically...nah. Not for me. But to those for which it does, hey, party on!

No, it's not that for me. I just don't think the cat was anything much more than a reasonably talented Southern guy, not some GREAT ARTIST or anything. I never "got" Elvis, still don't, and truthfully don't really care if I ever do. That has nothing whatsoever to do with race or politics or anything else. The guy has just never mattered to me one way or the other. Ever.

I only recently came across this one, and although I don't know if I'd go that far, it was certainly not what I expected, and in a good way.

How many overt "easy listening" records did he make for WP? California Dreamin', Michelle, A Girl In Love, & what else?

It says he retired. Maybe he fishes a lot, plays cards with his buddies, and works part time as a greeter at Wal-Mart. Hey, why not?

Diana Krall was on Letterman last night, w/Bob Hurst, Jeff Hamilton, and a guy who looked but didn't play like Eric Clapton on guitar. I guess that was Gerald Wilson's son Anthony. Any wya, they played "Corcovado", extremely competently but somewhat...hollowly, save for Wilson's voicings, which were extremely tasty, and Dave, never even a slight "jazz" fan was seemingly thrilled beyond belief. And then Elvis Costello came out from back stage and punched him out for coming on to his wife. Well, ok, that last thing didn't happen. But the rest of it did.

Oh, htat's one of the later Prestige 24000 "two-fer" series". Sometimes thise things would add previously unissued material. This one did not.

It also goes back to "Rue Chaptal" from a 1946 Kenny Clarke/Kenny Dorham date. I learned that a few years ago right here on Organissimo from Mike Fitzgerald!

AAAAARRRGH - halfway through posting and hit the wrong something, DAMN! Oh well. Shorter answrers this time. Ambien's kicking in. TRACK ONE - Crabby Chick dodn't dig the band. No time for that. But I found her CD online anyways. TRACK TWO - Billy Higgins on drums, Has to be. Interenet suggests a 45 from a Teddy Edwards session. But that IS Billly Higgins on drums. TRACK TRHREE - An this one really bugs me, I should know the singer, Really well known, West coast cat, I think, and damned if I can call him. I've got some sides ny him too...not Charles Brown, I don't think, but somebody who came in Brown's wake. I really shpuld know who this is dammit. TRACK FOUR - Sounds like Don Wilkerson on tenor, beyond that, I have no call. From the live Houston club tapes? TRACK FIVE - When did this happen and why am I just now hearing it? TRACK SIX - Johnnie Adams and a most distinguished cast of genuine characters. No problems. TRACK SEVEN - Tightness. The good kind. Junior Cook on tenor? TRACK EIGHT - Junior Parker. I still play this song regularly, and people still dance to it. The people have spoken. TRACK NINE - Yeah, ok. Something "foreign" seems to be in there, not sure what. Sounds like a warmup cut, early on in the show and review. Plenty of time left defore Star Time gets here, TRACK TEN - I like Otis' live version & Grant's version better than anybody's. Nut this one seems to be trying to be friendly, so no need to step on it. TRACK ELEVEN - Sorry man, can't make it. My tux is in the cleaners. Love to Nancy, ok? Great, maybe next year. TRACK TWELVE - I. B. Puzzled. Noah Dih. Toot Inners. Maybe some very late in life Griff? TRACK THIRTEEN - Sweets. I think. Can't go wrong. Otherwise, hey, lord knows it could be far worse. TRACK FOURTEEN - I like this.Frisky! Not particularly revelatory, but well-played and pleasant to listen to. TRACK FIFTEEN - Expository! I think I like it. I sure don't dislike it! Ambien's kicking in, will need to revisit again, but sure sounds ok now! Gracias beaucoup, Dan, looking forward to Dixc !! ASAP!

Just the one cut that I know of, official or otherwise. Trane was actually a little disappointed, felt that Rollins was toying with him rather thna coming at him head on. But hey, the both did what they were doing at the time. But you can hear Rollins play "Naima" in Copenhagen, 1968, on one of those Moon things.

YouTube ain't the whole show: http://video.google.com/videosearch?q=tami...emb=0&aq=f#

Hell, hardly any white or black folks got Warne in his lifetime. I think way more people are hip to him now than when he was alive. And yet Anthony Braxton "got" him better than anybody outside of the original(-ish) Tristano-ites, rightfully placing him in the "white mystic tradtiion" (or something like that) and digging him precisely because of that. Then again, Anthony Braxton "gets" more things than most people, period.

I'm telling you, the very best house music (and it's waaaaaaay underground, btw) is so damn chock full of information as to be the only true (ok, "truest") "music of now" that I've heard. But it ain't about "songs" nearly as much as it is about sound, texture, and peacefully and prosperously populating multiple layers of a sonic landscape. I believe you and anticipated such a post when I started the thread... I definitely need to check more of said music out. Music (in general, as a response to the circumstances around it) doesn't die; people do. Were you planning to fork over any names, Mr. Sangrey??? No, not really. Been down that road here before, very little interest, most people seem to reject the very notion of the music, never mind the specifics. And fair enough. Besides, this stuff is so underground, so scattered, so generally unavailable, that unless you really want to find it, it's more trouble than it's worth. And it's been my experience that one either gets it or one doesn't. No in-between. So I hesitate to recommend something that somebody could quite possibly spend a fair amount of money on only to say "what is this shit?" To really get at it, you either got to go to a club with a great dj (& that's so not going to happen with me, for any number of reasons) or just poke and prod and download various mixes like crazy, and then get to know the names you like and then go from there. It's not like the past, where there's an established body of acknowledged can't-lose classics , this is shit still happening in real time. Remember - it took 365 days for 1959 to happen in real time, but if you got the day off, you can pretty much relive all that matters from that year in 24 hours or less. But... Here's a site that has regular podcasts: http://www.routesinrhythm.com/ You might get one really good tune per 'cast, or you might get several. Rarely do you get none, but it does happen. You never know. Or if you don't get the music at all, you'll get a headache everytime out. C'est la vie. And here's two mixes that a few of my fellow middle-aged jazz musicians have enjoyed: http://karmyda.podomatic.com/entry/eg/2008...T21_54_49-07_00 & http://karmyda.podomatic.com/entry/eg/2008...T23_04_47-07_00 Why these one in particular, I have no real idea. Really though, I think you have to want to like it to like it. By that I don't mean discarding all preexisting sense of self or anything like that, I jsut mean that you gotta like the notion of music that is built almost entirely around/from rhythm, texture, and repetition and the creative use of gradual evolution of same. If you need a constantly changing melodic line, or a constantly changing anything for that matter, this stuff will only piss you off. It's there, but only sometimes, and it ain't the driving force of the music.

Noooooooooooooo.........

Per AMG, in 1990, BMI named "Sunny" as the 18th most performed song of all time from their catalog. AMG also lists 979 verions of "Sunny", but not all of them are the Hebb tune. But it looks like most of them are. Also per AMG, this tidbit, of which I had no idea:

I don't mind Chris Botti, actually. Don't feel any love for him either, mind you, but I'm just saying, if a guy who can really play and who goes on ahead and puts some music into his production is the worst that "smooth jazz" has to offer, then this ain't such a bad world. Unfortunately, it's not the worst that "smooth jazz" has to offer, but if it was, hey.

You played with Little Milton?

Great cover on that one.

Maybe what happens is that things change faster than most of us are able and/or willing to go with, so instead of just rolling with it, we get all antsy that something is being lost or destroyed (which is a more polite way of telling life how DARE it change on us, even though its doing so is what made room for us in the first place...)and began wanting "proof", some kind of evidence that they aren't. So that's when people start selling image rather than spirit, because you can "prove" image, it's tangible. "Spirit, what got us hooked in the first place, is abstract, ephemeral, but nevertheless very real. But nervous people don't want spirit, they want proof. So they go for the image, something they can see and own. By buying it, of course. How convenient. Hell, it's as old (or older) than the Old Testament, this demand for the tangible rather than the abstract, even thought the abstract is the more real deal. The more things change...

It's so...fresh (and yes, there is some Rhodes on it, thank god!)). "Characteristically" Mulligan in spirit, but not always in devices. I listened to the hell out of it back in the day, lost my copy around 75 or so, never picked up another until a few months ago. Listened to it on and off for several weeks straight, just marveling at how there was this time when "older" players didn't fear being "contemporary" but rather found a way to work with(in) it than against it. Mulligan found a way to seriously speak his language in the then-current vernacular w/o compromising his validity or sounding like a bunch of gratuitous graftings. A rare feat that. Then again, look who all was on it - Roger Kellaway, Tom Scott, Chuck Domanico, Joe Porcaro & John Guerin, as well as Bud Shank, Sweets Edison & Bob Brookmeyer. Some then "young blood" to make things happen "new-ish" with integrity for the older hands on board. And crazy-ass Howard Roberts who just don't give a damn. A fine, fun record, this is!

They must have swapped out then, because I'm 53 and lately I feel like I'm 80.