medjuck

I saw her in concert and didn't care for her. All of Sarah's excesses. It's weird because I would describe her singing in the same way as I might describe Cassandra Wilson's but I really like Cassandra. (Saw them within in about a month of each other. )

I was just listening to Handy's 1914 recording and it ends with 2 versions of a refrain I don't think I've heard before. Have I just always missed it in others recordings or is not played because there were no words written for it?

I've seen him about 5 times and he's always done a good show.

I started listening to Ornette in the early '60s but didn't see him live until this century. (I had tried to see him in Toronto in the late '60s but they wouldn't let me in to the club because I was wearing jeans!) I liked the records but seeing him live was a revelation.

The review suggests that he had more than a few young black people at his downtown LA appearance: http://www.latimes.com/entertainment/music/posts/la-et-ms-kamasi-washington-band-proves-the-epic-hype-thrills-a-sold-out-regent-20150505-column.html And though it does say there were a few old jazz guys there, usually when I go to anything down town I'm one of the few old guys. (Not that I was there-- the only guys I've driven to Los Angeles to see have been 80 yrs old: Ornette Coleman and Leonard Cohen.)

Drives my wife crazy.

Happy B'day!

"He has since played along with a musically diverse group of musicians including Wayne Shorter, Herbie Hancock, Horace Tapscott, Gerald Wilson, Lauryn Hill, Nas, Snoop Dogg, George Duke, Chaka Khan, Flying Lotus, Francisco Aguabella, the Pan Afrikaan Peoples Orchestra andRaphael Saadiq. Washington played saxophone on Kendrick Lamar's To Pimp a Butterfly[3"

I think that most of the photos are "housed in the Milton J Hinton Photographic Collection in Philadelphia". (From the book "Over Time, the Jazz Photographs of Milt Hinton".)

I'm with you on that one. And most people think it just "famous".

Nice to see some rigorous scholarship. I liked Teachout's Pops book but his bio of Ellington was so fucking awful that it's hard for me to take anything he says seriously.

Happy B'day Ray!

I do not think the views expressed about the album are a product of suspicion of the popular; it's about the content of the album. If a Gerald Cleaver or Mary Halvorson record were afforded the same "buzz," I don't think you would see the same negative reaction. I'm not sure of that. I don't recall any newcomer getting acclaim where there wasn't some negative carping on this board. (Then again, I don't recall a lot of things.)

The liner notes to the new Mosaic Condon/Freeman box make reference to a famous joke about "Come to Me My Melancholy Baby". AmdI the only one who doesn't know it? What is it?

It all goes back to this, French RCA, 1981: Not sure how THAT got released, but it was the first - and last - vault-dipping into RCA's fairly expansive Rollins holdings (Coda once pulished a discography of all known unreleased sessions, and the list was pretty...mind-boggling). Sonny heard about this, immediately put the kibosh on further sales of this item (a few got imported into the US, but not many), went lawyerball on RCA and the final deal was that the vaults would forever more be sealed, this little bit of leakage excepted. I'm pretty sure that not everything that's still left in there is going to be worthy of release. But the stuff that came out here was such a joyful mindfuck at the time, that I've got to think that there's more of merit to be found, if/when Sonny reassessess his attitude. And funnily enough, watching the material on this set come out on the RCA box and the various individual releases of 60s Sonny that Bluebird did, people who hadn't known any better just assumed that it was all of a piece and so many of them were all holy shit, this is GREAT how did THIS get so overlooked, and the answer is, because it's never really been heard until now, that's why. You can still get The Complete on RCA that contains these cuts from Amazon.

Indeed it is!.. There's one of those deluxe editions with alternate takes.

There's a European Columbia CD from the Jazz Originals series that contains the correct take of "Up and Down, Up and Down": http://www.discogs.com/Duke-Ellington-And-His-Orchestra-Such-Sweet-Thunder/release/6563425 The track length is 3:06, as opposed to 3:00 on the f'd up newer discs. Not sure how available the Euro CD is, as Discogs doesn't list any for sale. I've had it a long time, and think I may have gotten it at Borders back when they used to still have a reasonably impressive CD selection. That is a much earlier edition. I have Such Sweet Thunder from the Ellington Columbia box, and Up and Down shows a time of 3:09. As I said earlier: You can get the correct version of Up and Down on a cd called "Ralph Ellison: A Life in Music". It's available on Amazon and in fact you can download just that cut as an mp3 for 99cents. That cd lists the time as 3:03 but I assure you that it's the mono version on which Clark Terry closes the cut with "Lord, what fools the mortals be."

Is that the one on RCA? I remember decades ago Coleman Hawkins naming it as one of his favorites of the year.

Great. Thanks.

I noticed that their Sonny Rollins discography only goes to the year 2000. And I vaguely remember looking something else up that was incomplete. I recently sent them a small correction but got no response. Are they still operating?

You can get the correct version of Up and Down on a cd called "Ralph Ellison: A Life in Music". It's available on Amazon and in fact you can download just that cut as a an mp3 for 99cents.

Maybe Sonny will buy a one and replicate it selling it himself. IIRC he did that with a London recorded bootleg.

As is often the case I'm confused: The Discography states that Milt Gabler numbered the takes in order of preference so the master take would be take 1. However starting January 1948 the master takes seem to be those with the highest numbers: eg. The master on Fidgety Feet is take 4. What am I getting wrong? (It shouldn't really matter to me, I love almost all the takes-- especially those with Pee Wee.)

I saw Patti Smith with Philip Glass doing an homage to Alan Ginsberg and quite liked her. Then I saw a boring documentary about her that featured some scenes with her and her band. They rocked. Made me wish I could see her with the band and my wish came true and they were great.

Wow! Teagarden and Desmond: I want that dream!