Whether the release of this album or Dylan's "plugging in" at Newport in 1965 enraged fans more is debatable, but whichever way you see it, everyone agrees that this record was reviled when first released back in the Spring of 1969.
Sonny Rollins sparring with Freddie Hubbard (title tune only) backed by the reunited Coltrane drum’n’bass section of Elvin Jones and Jimmy Garrison sounds like an enticing lineup for this May, 1966 session at Van Gelder’s and it is!
Pete Townshend’s sprawling second rock opera, issued in the fall of 1973, uses the troubled teenaged character Jimmy to elucidate adolescent coming of age issues generally and those of post WWII English kids (like the four members of The Who) specifically.
There’s nothing groundbreaking on this 1960 Parlan-lead session, but that’s okay. The lure here isn’t the musical construction, since it covers familiar grooves and doesn’t move jazz forward. In fact, you’ll hear familiar gestures, some gleaned from Miles’ modal Kind of Blue issued a few years earlier, others from common blues.
With a new album "The Letting Go" just out (Drag City DC420 LP/CD) and a co-starring role in "Old Joy," a film Entertainment Weekly's Lisa Schwartzbaum (happens to be a second cousin of mine!) called "The Best of The (Sundance) Festival," and The New York Times's Manohla Dargis wrote was "A Must See..." and "One of the most persuasive portraits of generational malaise-a tentative hope-to come from an American director (Richard Reichardt)in recent memory," Will Oldham (a/k/a Bonnie "Prince" Billy") is on an impressive roll.
Part Two picks up with a discussion of the disappearance of commercial recording studios, the recording of Sings Greatest Palace Music, and the life and times of an \"indie\" recording artist--MF
WO: Yes. I mean even in Nashville when Mark and I did tours of studios for this new record thinking where we were going to record, the studios were dead because everybody has their home studios now.
Simon Yorke is an artist, a machinist, an electronics wiz, and a political idealist. He's also an analog enthusiast who melds aesthetic and technical considerations into eye-catching, densely packed, compact record-playing devices that are ruggedly built and functionally elegant. His turntables' smooth, matte-gray, metallic finishes and efficient lines make them among the most visually pleasing ever made.
You know what's the first thing they teach you in dental school? Don't ever say "Oops!" Even if you stick one of those hooked teeth scrapers through the patient's cheek, you don't say "Oops!" "Don't move!"? Yes. "Oops!"? No. That's the big day-one lesson—and given the cost of medical malpractice insurance today, a damn good one.
They are expensive ($40.00), they are 200 grams thick, the titles are mostly inspired and as you might expect, the pressing and jacket quality are absolutely spectacular.