JSngry

I remember it as being a mixed bag, but the good part of the mix was quite good indeed. Never bought it, though, whereas I did buy plenty of other Nelson Flying Dutchman albums. But that was then and this is now, and that now is already then, so who knows?

Nobody's saying (well. I'm not, anyway) that FD is worthy of ridicule because of his lack of Netskills, that's absurd. He goofed, period. A goof is a goof, and an act of chumpdom is an act of chumpdom. ("Chump" must be a significantly nastier word in Maine than it is in Texas. Must be the differences in climate...) Can we have a moment of objectivity (and bad taste) here? Let's say that Screw magazine was still around, and a columnist for that mag published a column about buying the Pamela Anderson/Whatever-his-name-was-rockstar-husband sex tape on the Internet. Well, guess what? THAT was available for free, too, or so I've been told. Don't you think that the more savvy readership of Screw would be justified, in this instance. in calling that columnist a chump? (the matter of anybody and everybody associated with Screw being a chump is besides the point... ) Man, I can and will freely admit that Sonny Rollins has made some stinker albums. Why won't you admit that Francis Davis has written some stinker columns? I'm not Clementine, and I myself have got no problem with an overall positive assessment of FD's overall accomplishments, even if I'm not quite as enthusiastic as you are. But c'mon - this column, this specific column, is nothing to be proud of, unless it's turned into a learning experience by his Net-savvy friends spanking him for it and he gets prodded into digging a little deeper into the matter at hand. Now THERE'S an idea for a column - the world of free concert recordings (aka bootlegs) currently available on the Net. Might take a little time for research and such, but that's a whole lot more, uh, timely and relevant than the one he did write. Gut turning a lemon into lemonade is a time honored tradition, and a mark of true nobility afaic. And if the issue of the "propriety" in writing publicly about such things is an issue, the question then becomes - why did he write about this one?

All right then, that's news I can use. Thanks! As far as the chump/overpaying thing, I've done it as well, more than I care to mention, actually. But I've never been offended by being told that I was inded a chump. I consider it schooling, and schooling ain't always pretty. Hell, if I took away everything I learned "pleasantly", I don't know how much of what I know that I still consider worth knowing would be left!

Betty Grable Harry James Jim Morrison

May I be so forwards as to suggest just dropping in to see what condition your condition is in?

Another TuffAss title.

Up, for further inspection.

I wish I had them to miss...

Yeah, the thing about The Crusaders of that era is that no matter how slick the top got (and sometimes it got REAL slick...), the bottom remained/maintained a real, down-home, genuine, of the people and by the people groove.That shit can't be faked, although people on both sides of the "appreciation" fence can be fooled into thinking that it can. But it can't.

Understood, Mike, but I gotta ask - how common are copies of The Record Changer these days, especially ones in really good condition (as these seem to be? Or more to the point - how common is a near-complete(?) set? It's the completeness (or damn close to it) of the set that would be attractive to me, even at the Minimum Bid price. Don't know that I've ever seen even an individual issue of the magazine, much less an entire set... Then again, maybe these are chump questions (or would be if I was entertaining a purchase). If so, say so. I just castigated Franis Davis elsewhere for maying too much (ie - ANYTHING) for a bootleg, so maybe there's a better/cheaper/easier way to get the same thing. If I would be a chump for even considering this purchase (and in my dreams, I am...), say so! (I'm expecting Allen to come to my defense if you do, though... )

Escept that this bootleg isn't of a live gig, or alternate takes, or anything like that. It's an entire studio session that still might someday be legitimately issued. But that's another matter altogether, and was not a part of my original contention. But c'mon, dude, shit like this circulates for free amongst good citizens, and has been doing so for years. The real beauty of the Internet ain't in what you can buy, it's about the networks you can form. I still firmly believe in discretion in these matters, and lots of it, as well as believing even more firmly in respecting the wishes and protecting the integrity of one's sources, but, yeah - if FD paid for the unissued Sanders/Cherry Savoy session bootleg, he's a chump. More power to him for doing his part to create interest. etc. since it is truly a groovy little set, but he shouldn't have bought it. No need for that, nor for encouraging others to do the same. That's got nothing to do with his writing, or his wife, or anything else. It just goes to show that the man needs to cultivate a little deeper realtionship with the Net and the Netizens within. Then he wouldn't be so gaga about paying for shit that he could've, no should've gotten for free, and he would be truly amazed at the treasures that can be had by good citizens everywhere. And as a side note not relevant to FD whatsomever, but definitely relevant to the topic of bootlegs - you're not a good citizen if you don't buy a legit (meaning full and fair compensation for artists/artists estates) version of previously bootlegged material is issued. As the prophet Dylan said - to live outside the law, you must be honest. Now, what's this about those bootlegs from the fallow late 1960s? Are you saying that there was an active and lively jazz bootleg market in those days? I sincerely wouod like to hear more about that, because although I know about the various Boris Rose ventures, from the days when he pressed out his shop to his Alto/Sesson/Ozone/etc labels of the late 70s, jazz bootlegs of the late 60s are something I haven't heard too much, if anything about, and I'd like to, as the subject fascinates me. The first Trane bootleg I ever saw was the first live Love Supreme one, ca. 74/75 iirc, and that thing nearly caused me some ruinated drawers....

Well, there's no way in hell I could afford this colection, even at the minimum bid, but I'd like to encourage any and all who are interested in vintage music to look around at your local used book/magazine/etc emporium(s) and don't hesitate to buy older jazz magazines. Or oeruse your local library/libraries for same. Nothing quite like it, and if it ain't quite the "real deal" in terms of being there musically (it's commercial journalism, remember, so the filters are already firmly in place), it goes a long way towards creating a sense of being there in the marketplace. Nothing like reading the infamous no-star Down Beat review of the Bird Savoy side in a magazine stuffed full of "canaries" and such. That's an experience no history book or "reader" can provide.

No vote, but I do like the Hamilton group's interpretation. Kinda "West Coasty" in its vibe (in a good way), which works for the sunny, "naive" quality of both sections of the piece. Coming out of a Chico group, it kinda "rings true" in that way. It's got that virginal quality to it that works for me, and which worked for Lloyd as well, at least for a little while. My least favorite would be the hit version. Nothing wrong with it per se, but...

And Sandler continues to hint at greater things to come.

Dolores Miyako Penelope

Kenny Cox Vanessa Del Rio Wolfman Jack

Look no further than Lee Dorsey for inspiration.

Keter Betts Skeeter Davis Mothra

High or low? Truthfully, I'd think it could go for quite a bit more than that. Could...

Sounds interesting. Thanks for the tip.

Warren Smith, yeah! Good to see that he's still around and playing well. Finn definitely has great command of the post-Ayler saxophone technical bag, and plays with conviction and sincerity. I'm particularly impressed with his command of what I call "reed notes" (not sure if there's an actual technical term or not) - the notes produced almost entirely by manipularing the pressure on the reed. some people refer to them as "squeaky notes", but that's not an adequate description in my book. Finn is able to manipulate those notes precisely and lyrically, moreso than any saxophonist that I can think of off the top of my head. It's easy to get those notes, less easy to control them, and even less easy to play them lyrically, never mind as lyrically as Finn does. What I'm waiting to hear is if he's got it in him, technically or personally, to give his improvisations more harmonic movement. Right now, he tends to stay in one zone harmonically from start to finish, if not always on the same piece, within his "workouts" of a particular idea/cell/motif/whatever. On the two CIMP sides I've heard, it's not a "problem" - the passion and command that he does bring is ample reward in and of itself. But over time, I think he's going to need to open his music up some more, or else run the risk of playing the same thing over and over. Just my opinion/personal preference, and only time will tell. But so far, so good.

Sound is indeed one TuffAss title.

On the second day, god created the heavens. Always the marketing hotshot, that god!

The individual CDs are available, but not with all the alternate takes included in this box, which are for the most part very worthy.