soulpope

One of my most beloved Blue Note`s.......... obtained this (what seems like ages ago) as new release of subject japanese pressing...

https://www.youtube.com/watch?v=mjvmmvFBPWU

Subject (obscure ?) album features an superb rendition of "Angel Eyes" by Art Pepper, IMO being one his best ballad interpretations in his late career and and having as additional bonus an excellent solo by Russ Freeman.....

!!

Thank you for the music RIP

https://www.youtube.com/watch?v=bS3hq3S3mW8 Rufus Thomas "I`ll Be Your Santa Baby" (Stax 0187)

SAM AND BOB & THE SOULMEN featuring Doris Badie "Since You`ve been gone" https://www.youtube.com/watch?v=BK8yNhVK6zQ

RIP

!!

John Fry, owner of the legendary Ardent Studios in Memphis 1944-2014 R.I.P

sonny fortune

sonny rollins is not obliged to fullfill the dedicated follower s expectations. the (dedicated) follower is entitled having these - for some of the latermentioned it s satiesfying having a great rollins album after more than 25 years (aka in 1996) and for others not so much, both views possibly based on choices and not necessarily on verdicts.

another interesting aspect, thnx for sharing...

My view is this: Sonny wanted to play for the people, specifically the middle class. He did not want to play avant garde; he wanted to groove. In a way, he took a very challenging stance: to force his hardcore jazz audience to accept musicians like Stanley Clarke, George Duke and Larry Coryell as real, substantive jazz musicians. He reaffirmed that melody, rhythm and (perhaps most of all) approachability were core to his jazz experience. He wanted to be the opposite of an elitist. interesting thoughts....

as the last couple of posts deals with why rollins was not more successfull in identifying hornplayers in the db blindfold test, i want try to reinstate the question reg the choices of musicians rollins made following his second recording hiatus (1969-1972) and to which exent these influenced his further development/recording output....any further points of view ?

I think I once saw/read an interview where it was explained that Bob Cranshaw was no longer able to cope with the demands of playing an upright bass, hence the bass guitar. thnx for the info, explains the situation reg bob cranshaw. nevertheless it does give no answer, why rollins (hey he could have hired virtully every bassplayer he wanted !!) remained bound to a musician with this limitation(s)...which again leads back to the prediscussed topic reg rollins and his choices of musicians.....

as i already outed myself being a sucker reg acoustic bass players, it always left me wondering why rollins stopped using these end of the sixties permanently and IMO robbed himself (aka his music) of a natural fundament......

Don't know if I give credence to the model that what's good for an individual as a person is ultimately less important than what is important for the industry in which they labor. I tend to see it as an art form. Well. ok. but an "art form" that entertains the wants of its consumers as well as its creators is a business, and a business that is about getting product to market eventually becomes an industry. So, if Sonny Rollins has failed to provide you with what you want/need, he has failed his industry, even though he might have served his own personal wants and needs just fine. I don't expect anybody to listen trough all the 40+ years of brilliances and thudbooms of misses and "worship". But hostility on the grounds that the man had a faulty personal agenda/business plan, that if he HAD done XYZ then everything would have been allright, that's supremely industrial in it evaluation. Sonny "failed" because he didn't have the right parts installed, something like that, like the only thing that effects a player is who's on the stand that night or in the studio that afternoon, just show up and execute. Get that model SR back into R&D and don't come out until all the glitches and bugs have been removed. Sorry, just not feeling that. If the guy wanted to play with David S. Ware, he would have. As it is, didn't they practice together for a while? That's where you'd really learn, one on one practice sessions. The whole "record/concert=reality" thing, that's basically industry glimmer to get in you eyes when the smoke clears. Now, sure, ther are plenty of peole who WANT to fo it like that, but not everybody does. One size does not fit all. It's art first, commerce second. I think Sonny failed his art after 1970 or so. Commerce has succeeded brilliantly in marketing him. Money has been made, so no complaints there. I give Sonny the respect of looking at him as an artist, a person, not a myth or a god. Serving one's own personal needs and wants doesn't necessarily translate into serving the art. It's just solipsism. Sonny's greatness came as much from other musicians as from himself; in other words, he fed off them, and they fed off him. When he began playing with sock puppets, there was nothing to feed off, except himself, and that's the sound of on hand clapping. love rollins but following his impulse albums he faded away from me (or me from him ?)....the musicians he "used" thereafter may have been a reason......always admired his capability to "reinvent" himself, which IMO was exhausted or lost from the 70s onwards.....

based on the reactions/feedback here this blindfold test at least helps to broaden down beat s marketing zone ;-)

nice one !!

this red garland trio keystone corner recording from 1977 looks tasty indeed.....