JSngry

No, he knew that the flute playing which he heard was very good.

Bootsy Barnes?

Norton Simon Carly Simon Paul Simon Simple Simon Marie Callendar Neil Sedaka

It's a Swingline.

Not to quibble, but it should probably be noted that of that list, only the Green & Wilson albums were actually issued by Blue Note in their time, and that the Land was recorded for another label altogether. The others (including the Land) were all issued for the first time in the 1970s, positioned as "historical finds" rather than "new releases", if you know what I mean. Still, once a Blue Note, always a Blue Note!

Keeping in mind that Silver City collects most, but not all of the highlights of the period it covers and is probably the best choice for the "casual" fan of Rollins' 70s and beyond work (and I know a fair number of people for whom the issue of not liking this later work is simply a matter of them not liking Sonny's tone, or not likeing electric bass, or not liking any number of things that have nothing to do with the actual quality of the music itself other than personal taste as to style and such), here's the Milestone albums I keep coming back to and finding new dicoveries and enjoyments . They also contain material is not included in in the Silver City box that I would have included if I was compiling such a set. Next Album In Japan (not a Milestone, a Japanese RCA LP/JVC(?) CD) The Cutting Edge Nucleus Don't Ask G-Man Falling in Love with Jazz +3 Global Warming This Is What I Do Then there's a few others, like Easy Living, Don't Stop The Carnival, Love At Frist Sight, No Problem, Sunny Days, Starry Nights, & Dancing In The Dark that have either one killer track on them and everything else just falls flat, or else the entire album misses the mark by just this much. Those are the ones that are really frustrating, the ones that tease you into thinking that if you can just figure out the proper perspective that you can get all the way into them, but that perspective never comes (or hasn't yet. By this time, though, if it hasn't happened...). Also, all of these albums have at least one dog track, and it's usually one where the sidemen are featured at length. There's really no flat-out bad players on them, but when you're in the middle of an album where Sonny is playing quite nicely and for one cut, he just sort of steps aside, it not only drops the level of interest down, but it reinforces the point that Sonny Rollins, even if "studio mode", projects a quality and complexity of personality that is unique. As fine a player as Tommy Flanagan was, to use a "name" example, when, on some of these latter albums, Rollins stops and he begins, there's a noticeable shift (downwards, I think) in the "aura" factor. And that's Tommy Flanagan... Anyway, that's my opinion. This is a matter that will never be settled, since it is based on, as should be obvious by the previous comments in this and similar other threads, each individual's perception of "who" and "what" Sonny Rollins "should" be, and to what degree he's delivering those particular goods. But consider this - there is no other player, dead or alive, who could play like Sonny Rollins plays today, in terms of technical specifics and also of projection/quality of personality. The guy's tone alone (and the absolutely huge sound with which he delivers it) is more complex than most people's entire musical makeup. Like, love, loathe, or remain indifferent to his work (live and/or studio) of the last 30+ years, I think that that must be acknowledged

Clown shoes are pretty massive, maybe that's what is meant?

Black Uhuru Bob Marley Peter Tosh Susan B. Anthony Abdullah Ibrahim Elsie the Borden's Cow

That's a sketch right there...

Steamboat Willie Willie The Pimp Tom Scott

That's nasty.

Catfish Hunter Rollie Fingers Thad Jones

And I'm thinking of the discomfort those schoolkids must've endured whilst passing those old organs. To say nothing of the messy cleanup that the homeowners no doubt had to perform. This drives home the importance of insuring that all neighborhoods have safe and plentiful public restrooms.

How many cutout holes can an album have before you have to give it away? (old bottom feeder's joke)

June Allyson Billy May Nelson Riddle Frank Gorshin Ooops, that's four...

Art Carney Herbie Nichols Norton Buffalo

Albert Lion was Alfred's British second cousin twice removed and thrice returned.

As well as The Ultimate.

I was kind of thinkng Clifford Thornton, or somebody of that nature.

I was just lyon. BUSTED!

Louis Armstrong Jesse Hill Pops Poopadeaux

And Herbert Viola to me.

Bananna. Sharpie Bananna.

All things being relative, Neshui was to Ahmet what Francis Wolff was to Albert Lion, sorta, kinda. I agree that Curtis Armstrong looked quite a bit like Ahmet, but although I don't know for sure, I have a very hard time believing that he sounded anything like him. I couldn't shake the image of Herbert Viola going to a costume party. Not that I let it bug me, though.

That's the most cogent (and deep) comment I've read here in quite a while. Instruments don't make the music. People do.