JSngry

P-Vine has also used other source material when it can't get its hands on the masters. Most of the blues and gospel releases don't come from vault sources. They usually do a good job with the sonics, however. Thanks for that info.

Got that one long before I found ITW, and as good as it is, there's a certain "holding back" quality to it (that I can't really put my finger on), that is totally absent from ITW, at least to me.

Still hate the song, but love the story. That's what pop music is supposed to be about in the end (until the end, though, is a different matter altogether....), and that's why pop, in its own non-musical/intellectual/whatever way, is capable of a simple yet undeniable profundity that too often escapes us "smart" people.

Well, there again, it's all in the title - Unit Structures. The whole thing (as is much of Cecil's music to this day) is really a long-form composition made of up "little" cells/units that are developed through improvisation before the next one comes along (the improvisations of late Trane go much the same route, actually). Once you glom that, I'll not say that it necessarily gets "easier", but it does at least start to fall into place.

Do you mean Stockholm? Indeed. My bad.

Well yeah, that's the way I feel. First it hits you, and then you make the effort to figure out what's going on. I'm not prone to expending effort figuring out something that I don't want to hear over and over again... I've at times been credited with being "eloquent" or some shit. No such thing. It's just that if something really gets to me, once I get over the intial buzz/repulsion/ehatever, I go about trying to figure out why I've had that reaction, and what specifically it is in the music that has produced that reaction. Now, yeah, I'm a musician, so I can go more "technically" into it than a lay listener (and that takes care of the "how), but still, I'd think that anybody could ask themselves "Why?" one way or the other, and come up with an answer, unless you just want to function entirely on gut reaction and keep moving on (which is certainly a lifestyle with immense appeal, but also one which I personally have found myself unable to sustain for any meaningful duration after numerous attemps. Personal wiring and such, I suppose...) For me and Unit Structures the why was really pretty simple, and contained in the album's title - the structure. I was shaken (and stirred!) by all this intellegent energy feeling like it had an overriding structure (a structure which became apparent over time, as I pursued the "how"). The notion that "structure" and "freedom" could exist on such equally large a scale had a very powerful primal impact & appeal to me, then and now. And besides, "Enter Evening" is just flat out beautiful, at least to me.

Doesn't that belong in the ECM thread?

Good question. Don't know. I think P-Vine uses master tapes, but am in no way certain.

Hatfield & The North Freddy McCoy Richard Dawson

Chip Monk The Nutty Squirrels The Grasshoppers

BTW - here's a piece of Donald Byrd trivia - Blue Note took out a full page ad for Black Byrd in ,of all places, National Lampoon. It was a full black page with a white cartoon drawing of a fedora-wearing crow, and the copy was sometihing like "Have we got some blues for you". I kid you not.

Yo Pete, it be here: 1. New York City - Alphonse Mouzon 2. Just Like the Sun - Alphonse Mouzon 3. Without A Reason - Alphonse Mouzon 4. Music - Carmen McRae 5. Paint Your Pretty Picture - Carmen McRae 6. Them There Eyes - Carmen McRae 7. T'ain't Nobody's Business If I Do - Carmen McRae 8. You're Everything - Carmen McRae 9. Captain Midnight - Ronnie Laws 10. Night Breeze - Ronnie Laws 11. Piano Interlude - Ronnie Laws 12. Always There - Ronnie Laws 13. Presentation Of Proclamation - Ronnie Laws 14. Like A Lover - Earl Klugh 15. A Felicidade - Earl Klugh 16. Manha de Carnaval - Earl Klugh 17. Samba De Orfeu - Earl Klugh 18. Blue Note '76 - Blue Note All Stars 19. Places & Spaces - Donald Byrd 20. Dominoes - Donald Byrd

Not rare at all: Plus, on one of the suites ("Suite Thursday", I think it is, Paul Horn subs for Johnny Hodges in the sax section. Square business.

That would be....wrong:

Ruff Snoopy Sandy

Hope Lange Jim Lange Jessica Lange

Y'all can spend all your hard-earned wagesess on all those fancy-schmancy new-fangled sissy-boy tweakerisms, but I've yet to find a better, cleaner power supply than this one:

Baby Dodds Buddy Holly Friend & Lover

http://www.dustygroove.com/item.php?id=5gs...p;ref=index.php Haven't heard it yet, but will soon!

Wow, the poll's over? Guess my Crusaders vote came in late...

Oh, I know that the word was being used before then. I'm referring to its use as a "crossover" marketing term. I don't recall the term being pushed to white, rockish kids over hear until later in the 1960s, around the time that Otis, Aretha, & JB began to make real penetration into that market, which actually would have been around 67 or so, although Stax in general began really getting big a year or two earlier. I can't count Motown, because although they did even have a label called "Soul", that wasn't the real focus of thier whole trip.