danasgoodstuff

I think it's a fine album if you want to know what the guys would've sounded like if they'd recorded for Prestige!

Speaking of Molsons, does anyone know if they still make their delectable Export Ale?

Count me in the NOT column re Mizell

Jazzmoose, If that's meant to be a Lefty Frizzell (who I love) reference (and/or allusion to Bill's Americana turn), it'd help if they spelled their names the same. As for Bill, I generally prefer his sidemen dates: News For LuLu, Bass Desires, Paul Motion, etc. Cf. Have a Little Faith, but since it's all covers it's like he's a sideman on his own album. None of his recordings have the telepathy I witnessed at a duet gig he and Joey Barron gave here a few years back. Those who think he just does one thing are sadly mistaken, but I do find myself wishing for a little less atmospherics, just sometimes...

OK, now I really feel like a geezer. I have heard most of the above mentioned bands/artists but the only one I have much use for is Jeff Buckley who was indeed taken from us too early. The only rock band currently working whose current work I have much use for is Los Lobos and the're hardly "modern rock" and have been working 20+ years(?) Oh well.

OK, but do you prefer the version with Mingus' bass overdubbed/rerecorded or without (I think I've only heard with, but the Debut box has both)?

I voted for the only one I currently own, BBC (other) which is to me 'led Zep' on a more human scale, which is an oxymoron but there you go...

I met Andrew once when he lived here in Portland. Nice enough but seemed quite shy. Also, I understand there was some bad blood between him and Blue Note at some point? In my short music journalist career I came to dread actually talking to the guys, but maybe that's just my over sensitivity to the inherent falseness of the situation...

My wife wants to get one of those retro looking all-in-ones with a turntable for the living room so we can have tunes there as well as the music room. We were thinking of the TEAC since it's at least a name I recognize...Questiuon is, I don't expect HI FI but will it damage my precious vinyl?

OUCH!

There are more recent remasterings (all?) and the box notes are good but not great (I think the Verve box is the best bio of Bud available), so I gues it comes down to your feelings about RVGs and the price of the box.

africaBrass, Yeah, sociology shouldn't get in the way of music, but then it doesn't exist in a vacumn either....I too have been curious to hear what some of those mix 'n match Dead/QMS/Airplane shows might have sounded like. I do know (and like) some deadhead tape traders I could ask but I hate to unleash the overly long reply. Did hear some interesting music on the local tape trader show on KBOO (Dead Air Space) by a band called String Cheese Incident, I think they played Birdland as bluegrass, kinda... Almost forgot, Dino V. was (I believe) originally part of QMS but got busted and/or drafted, then came back...talk about dark cloud/(quick)silver lining!

I like the Dead, I really do, but am I the only one who finds the self-involvment of deadheads to be just a bit of a barrier? On the other hand, I have some nice bootleg Quicksilver....

Boy, this discussion made me go back and listen again and again. But I guess that's what these AOTW things are for. I don't think I've ever (over several years of lurking and posting) disagreed significantly with Jsangrey and here I couldn't disagree more. For me Ron Carter is the glue that holds the originally issued session together. Not just the lines but the sound which is much 'darker' than usual for him (so good it could almost be Richard Davis). At times the slow decay on held notes is the groove. for me, that is, which just show to go ya that two peoples can hear completely different things...I find the bonus session more "interesting" (esp'ly Jimmy Ponder in this context) but less successful/fully realized (hence unissued). Oh well, I'll try to keep up better.

Late, I think Lee would definitely have brought more fire to the post-Brownie Max Roach group, but I was thinking more of the unpredictability(?) that Sonny would've brought to Son of sidewinder things....

OK, who's got the Book of Kells image from the old board? I miss it--put it up as wall paper on the shared computer at work and it stayed up forever. I thought the comparison was quite apt, if just a little arcane...

Hey! Where's Eddie Lang?

Rooster Ties, If you're in Portland you can check your e-mail and this bulletin board at the Multnomah County Library-ew'll give you a guest pass good for one hour per day.

According to amazon, the CD reissue of Nick Gravenites My Labors (which was part live/part studio with a different band) contains 3 bonus tracks for Live at The Filmore (would've made more sense to combine all the live stuff in a new package but..). Last time I checked Al Kooper's web site he was talking about a Bloomfield box later this year. I haven't popped for the improved Super Session or the new live stuff, but I might go for the box.

According to amazon, the CD reissue of Nick Gravenites My Labors (which was part live/part studio with a different band) contains 3 bonus tracks for Live at The Filmore (would've made more sense to combine all the live stuff in a new package but..). Last time I checked Al Kooper's web site he was talking about a Bloomfield box later this year. I haven't popped for the improved Super Session or the new live stuff, but I might go for the box.

Sonny Rollins, which would make it "more than nothing" which is not quite what you asked, but this has long been my fantasy tape find...maybe Lee was too close to Clifford Brown for it to have been comfortable for Sonny?

For Portland I'd add Powell's Books which takes up the entire city block (ours are small, but still) at W Burnside & 10th. Besides lots of books, they have nice walking maps of downtown. A few blocks south on 10th at SW Yamhill is the central library, which also takes up the entire block. And then taking up most of NW Portland is Forest Park, a great way to get away without having to go too far. In Seattle I like Buds Records, an old style jazz shop on Jackson at the south edge of their downtown, which I've always found much more funky/interesting than ours.

OK, I like his tenor soloing on Carumba! and I love his bass clarinet ensemble work on Bitches Brew. The later is, as far as I know, unlike his, or anyone else's, work anywhere else.

I always assumed that the WSQ, which Muray is/was also a member of, was the inspiration...I actually prefer the way Clarinet Summit do Ellington tunes.

Chris, I don't remember "Teddy Bear" but I do have a very distinct memory of "giddy Up Go" and "Phantom 409" from a hitch-hiking trip from Saskatoon to Calgary and Edmonton and back again on spring break in high school (of course we got snowed on), seemed that was all one trucker played. Also remember the girls in North Battlefield who wanted to take us "just down to the corner"...Hey that might make a good country song!