Helpful votes received on reviews:
92% (109 of 118)
Location: Kenosha,, WI United States
Birthday: Jun 29 (Saved Remind mePlease RetryPlease Retry)
Anniversary: Aug 20
In My Own Words:
Not long ago I read a news story about an Amazon reviewer who, though "# 2" in Amazon's rankings, was abandoning the chase because of the (then) new policy allowing readers to address written commentary to the reviewers themselves. I couldn't care less about the rankings, but as someone who's posted over 2500 reviews (many of which I've removed), I simply request that those who write to reviewers-… Read moreNot long ago I read a news story about an Amazon reviewer who, though "# 2" in Amazon's rankings, was abandoning the chase because of the (then) new policy allowing readers to address written commentary to the reviewers themselves. I couldn't care less about the rankings, but as someone who's posted over 2500 reviews (many of which I've removed), I simply request that those who write to reviewers--whether posting an addendum to a published review or writing directly to the reviewer's mailbox, and whether it's a criticism or a simple question--first consider: 1. Date of the original review. (When was the review written? Would you be able to answer a similar question about something you'd written several years ago? Are your tastes and ideas exactly the same as back then?); 2. Audience. (As a reviewer, I mentally "construct" different audiences for my reviews and write accordingly. I can't and don't presume to know the identity of the writer who sends e-mail, much of which does not even begin with a conventional salutation let alone personal introduction. To answer responsibly and sensitively I need to know (briefly) who you are--a general reader, a professional in the same field as the review, the author/artist herself, a family member of someone perceived to have been criticized unfairly. 3. Finally, a reviewer's "outside" work-load and family duties along with the time required to "experience"--attentively, fully, carefully--a single book, film, or record album simply make it impossible to receive the majority of new items offered by frequently talented, deserving individuals for review, regardless of the merit of the text or product. Don't take a decline as a personal "rejection," and feel free to ask again at a later date.
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The preceding reviewer has a point about Sonny's unfortunate decision to avoid the alto saxophone--Bird's own instrument!--for this session, which features Sonny with trombone great, Frank Rosolino. I've always found his alto to be Bird-like yet very distinctive and less cliche-ridden than his tenor playing. On tenor, Sonny can't resist "directing" an ensemble through its paces, especially on his extended endings with their repeated I-vi-ii-V riff patterns. It's the instrument he goes to when he wants to control things. On the other hand, Sonny's technique is so fluid and his control of top-tones so assured that on tenor he can easily be mistaken (and frequently is) for an… Read more
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1 of 1 people found the following review helpful
As a result of remaining vigilant on Ebay, I've recently been able to restore the original monophonic vinyl LP to my collection. Now I know why this session has always been one of my 6-7 desert island discs. I'm sure the engineers who remastered this date were proud of their work: the two horns sound like they're rooms, practically worlds, apart; Billy James' drum kit sounds as "clean" as a Dr. Jazz digital rhythm machine; Donald Patterson's bass lines are so definitive they sound like a separate instrument from his B3. The B3 itself has the immaculate sound of a new instrument (just what every true B3-lover despises). The ensemble ambience is so dry and unforgiving that the… Read more
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Even gentle giants can shake the ground. On this collection Coltrane joins musical line to breath stream so naturally that the effect is more suggestive of a deep meditation than of public performance. For twelve songs the listener is lulled by the sound of power in abeyance, of explosive energy held in check. But the Creator ends his Sabbatical with the thirteenth song, "I Want to Talk About You" (from Live at Birdland), with its scorching "sheets of sound" cadenza. Has the Maker returned us to Chaos or merely exposed the dynamic energies that lurk beneath the tranquil surface of a paradoxical Creation? The compilers of this collection could easily have finished… Read more
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