danasgoodstuff

So, what's the story on the Nothing But Soul/House Warmin'/Heavy Sax session appearing on different label with different album titles and different names for the tunes and sometimes credited to Ammons and sometimes to Howard McGhee? And why did Jug and Red Garland never record to together when they were both on Prestige?

Thank you

Veen listening to a lot of Jug recently, early or late, big bands or small, doesn't even matter much to me.

You know perfectly well that isn't what he was saying. Total straw man argument. On the other hand, this is totally reasonable and moves the conversation forward.

I first heard the Japanese LP selections from this date relatively early in my jazz journey, but still after I was kind of familiar with Miles in general and this band in particular. I don't hear structure particularly well and it would never occur to me to make an effort to check their work to see if they had abandoned the form of Stella or not. Sure, I can hear that in some sense they are pushing things further than on My Funny Valentine or Four. I hear the energy and interaction and inventiveness and soul. To me this is raw and real in a way not even come close to again til the Lost Quintet. When I first heard it, I hadn't heard nearly as much by the Quintet's members as I have now, but I don't think that's changed my perception here much. I know the tunes a little better than I did then, but my enjoyment isn't much affected by how well I know any of them, which varies a good deal. I think assumptions about the accessibility of jazz performances based on 1950s pop paradigms are just weird. There are many ways to approach this music.

FWIW, the bad disc/CD-R replacement thing sounds vaguely familiar. But I don't recall the details at all. And again FWIW. I find the Plugged Nickel the most compelling of all Miles live recordings although I own and enjoy lots of others too.

Thanks, as a big fan of Bechet I'm not sure how I could've either not known or forgotten that.

I was listening to Gene Ammons play Strange Fruit, is there anyone else who could make that work as an instrumental?

That's a nice box set. Larry Williams did some great stuff and inspired some pretty good covers too.

As far as things on Capitol go, the Beach boys and that band from Liverpool were also on the label. So was hank Thompson and you could asswmble a nice swinging set of instrumentals from his early albums like the perfectly titled Dance Ranch.

I love Jimi, but I'm dubious at this point on buying any more than hours 'n hours I already have.

That's good stuff, isn't it? I got to hear Chryl P talk a little about making that Stax demos box, just amazing dedication to get it done.

He was a great hockey player and a lawyer, member of parliament, an author, and no doubt much more. 6 Stanley Cups, the last 4 in a row.

I bought lots of twofers back in the day, and still have many of them. The notes on both Prestige and Blue Note tended to be quite good. Anyone else remember the analogy to French literary theory re 'second removism'?

Excellent!