Leeway

That's kind of funny, actually In an effort to extract Boomer $$$, advertisers are exploiting virtually every 60s FM hit.

Thanks again. The weather, the birthday cake, and the vinyl were all marvelous (although the vinyl proved a bit chewy ). Daughter One was mightlily pleased. And so was I.

Hmmmmmmm.....Any thoughts? Should I treat myself? Very nice, Leeway! Enjoy the set, and I know you know you owe your wife. I'll have to pay her back the best way I know how Another Lp from the "Heavyweight Champion" set tonight:

Put another candle on the birthday cake, and another record on the turntable-- Happy Birthday

From the excerpts I read, it almost seems as if Dylan is trying to be his own iconoclast, smashing the image of his greatness. As always, trust the art, not the artist.

I've gotten a stronginterest in reading about an era I lived throug- the Sixties-- and the music I grew up with-- rock and roll. So I got a stack of books from the library and have been surfing through them: "Highway 61 revisited : the tangled roots of American jazz, blues, folk, rock, & country music"-- Gene Santoro "A long strange trip : the inside history of the Grateful Dead"-- Dennis McNally. "The Grateful Dead reader" - David Dodd "Beat culture and the New America, 1950-1965" Lisa Phillips "Hippie" - Barry Miles "Hell bent for leather : confessions of a heavy metal addict"- Seb Hunter "The Rolling stone illustrated history of rock & roll : the definitive history of the most important artists and their music"- Anthony DeCurtis "From the velvets to the voidoids : a pre-punk history for a post-punk world" - Clinton Heylin "Unsung heroes of rock 'n' roll"--Nick Tosches I feel like a fell into a time warp but am enjoying it. I haven't dipped into the Heylin yet, but have been through most of all the others and they are all recommendable. Tosches is a particularly engaging writer. The Santoro is essentially a collection of his essays, articles and reviews, dressed up in a larger socio-political framework. Sometimes this extra scaffolding gets to be a bit much, but he has many worthwhile insights.

This morning, I took a dip into some early jazz: King Oliver - "The Great 1923 Gennetts" - Herwin 106. With Armstrong, Hardin, Dodds (Johnny and Baby), et al. Through a blizzard of static, one can hear greatness. Then: Wingy Manone- "Vol. I"- RCA Vintage Series LPV-563. I really like ole Wingy. And: Just received my birthday present: I read the threads on this LP set on this Board and others, and decided I would really like to have it. True Blue now has a substanital chunk of the Leeway family funds But I thank my super-nice wife for buying it for me! Anyway, started off by listening to "Giant Steps" and it sounded fine to me. I love Coltrane's playing on his Atlantic albums. Looking forward to dipping into this frequently.

Thanks again, I really appreciate it. Just taking a break before the birthday cakes (one for me, one for my daughter) get lit (I'm already lit--- just kiddin' ). Best wishes to you all.

Thank you all, I really appreciate that I wish we could all have a big listening party together I think I'm getting some new vinyl as a birthday gift The coolest part of my birthday is that my first-born, my oldest daughter, has her birthday on the same day. She was born on my 30th birthday. So, a day of celebration

If she (they) were asking $60 million, it might of been pretty hard to settle. How much do you think he should pay? Kobe supposedly can settle for less than $1 million, yet his case is still going on. And he's accused of rape. Should Bill's gal get more than $1 million? Isn't Kobe richer than Bill O'Reilly? Did Paula Jones finally settle? Didn't she get some money? Based on her salary and potential loss of income, I'd say $1 to $1.5 million should do the trick. That's if she has got good audiotape of him. If her evidence is iffy, scale it back to $250-500,000.

Hadn't listened to folk music in a while, so put on a couple of sides from Elektra Records, "The Folk Box," 4 LPs. Listened to Side 6, "Nothing But the Blues," songs by Sonny Terry, Big Bill Broonzy, Ledabelly, Blind Lemon Jefferson, New Lost City Ramblers, et al. Then Side 8, "Broadside, Protest Songs," with Pete Seeger, Woody Guthrie, Tox Paxton, et al. Are there any folkies on the Org Board? Then a Blue Note with one of the oddest covers: Live from the Golden Slipper, Newark, NJ, 1971. Recording engineer, Malcolm Addey !

Hey, at least Goldsher knew enough to steal from the best sources Thanks for the reminder about your links; of course, a great place to check discographical info.

Atlantic SD 1519. 1969. Gatefold LP. Not terribly well-recorded. Still showing much of the atmosphere of the "Summer of Love" and jazz-rock nexus (live performance, light show in the background too). With keith Jarrett, Ron McClure, Jack DeJohnette.

Did Ralph Peterson really work with Art Blakey and the Jazz Messengers? Hmm, since he played drums, don't know how he would have fit in to the Blakey group. All Music says: Don't have an account, so can't check their Credits section. I'll check "Hard Bop Academy."

Her prose style is good, and that's encouraging. But a book is different than an article in terms of the demands it makes on a writer. In addition, tracing Shorter's career is a daunting task. Let's hope she has done a good job, as I doubt we will see another bio on him soon. BTW, I wonder if she received a lot of cooperation and input from Shorter. OTOH, I do not want a hagiography.

But I got in more links

Here's another Mercer article, this one Shorter. Mercer article on Shorter

From Amazon: Here's an article from The Village Voice by Mercer: Mercer Article in VV A Mercer article on Uri Caine Mercer article on Caine

Discussion of J@LC inevitably (for rather good reasons) becomes a discussion of Wynton Marsalis, and then of his admirer Hardbop (Wynton should be giving Hardbop free tickets and the best seat in the house, the guy does so much PR for him; then again, maybe he already does). Anyway, I'm more interested in some of the other questions raised by J@LC. For example, is it to the benefit of jazz to instituionalize it in the way that J@LC has? Is it a good thing to have a resident jazz orchestra? What will be the effect of J@LC on the New York club scene, Blue Note, Village Vanguard, Iridium, etc? Will it hurt their attendance? their ability to book performers? What will be the effect on jazz in general if J@LC can't fill its seats? Will that add to the "death of jazz" syndrome? How ill J@LC affect new developments in jazz? Will its commercial pre-eminence tend to stifle innovation in jazz? Or will it give jazz the sort of prominence that will help jazz maintain and advance It seems to me that J@LC is a fairly radical project when you think of it. I'm surprised more analysis hasn't been given to it. The latest extended article is Ben Ratliffe's in the NY Times. Ratliffe Article on J@LC J@LC Web Site J@LC Web Site

I've also had some communication with LOR. about his project. Coming from the world of rare books, I'm familiar with the sort of painstaking antiquarianism of the kind LOR is involved in. I'm loathe to criticize collectors of any objects whose pursuit of seemingly obscure or useless detail proves to be of value to later researchers. Having said all that, I still really can't see any great value in what LOR is doing. It seems more obsessive than focused. It also seems beside the point, irrelevant to the musical projects that Blue Note was carrying out. Perhaps someone can provide an explanation that makes sense of what this fellow is doing.

Good news. Overdue. Now can we hope for bios or autobios on Jackie McLean, Herbie Hancock, Ron Carter, and how about that long-rumored bio on Lee Morgan?

I wonder if the woman has O'Reilly on audiotape? Those quotes have an authentic ring to them, and I note that O'Reilly has steered aware from absolutely denying he said some of this stuff. I wonder if O'Reilly talks to Ann Coulter that way?

I tend to get REALLY, REALLY impatient when my CD order doesn't show up within a month

I recently picked up (at a garage sale) the remastered version of The Beach Boys "Pet Sounds," (Capitol), which contains both the stereo and mono versions. The remastering used the HDCD process. I found the CD to be excruciatingly bright. If the Beatles CDs are like this, I'll take a pass.

Staying (mostly) with the pianists: An avalanche of synthesizers. A Toshiba-EMI Japan Blue Note pressing. Then my man Bobby Hutcherson - "Knucklebean," Blue Note (couldn't even find a picture of this LP ) A great candidate for a Conn or RVG reissue. And some rock: An interesting amalgam of heavy rock, Bowie, and Lou Reed (nice version of "Sweet Jane").