Legendary country music songwriter Don Schlitz is the newest person to ride off into the sunset. He was 73 and writing "The Gambler" was only the beginning for him. My only question is why did it take him so long to finally experience his Grand Ole Opry debut? I read elsewhere that it was only nine years ago.
God bless you and his family and those who still sing his song always!!!
Holly
P.S. Right here is my most favorite clip of his writing.
Link _________________ Me & my favorite singer James Otto
Check him out here when you can!
Sadly, David Allan Coe is the newest country person to ride off into the sunset. At the 11:08 mark of this clip, a butt kicking cover of his song named "The Ride" is done. 😄😄😄
54. Way Out West—Sonny Rollins (Riverside, 1958): The greatest trio record ever. Of course concepts like “cohesion” and “interplay” govern such intimate settings, and what we’re talkin’ here is a three-way musical dialogue where each participant understands the notion of space and time. Rollins of course is bountiful on this alb[um]—I’ve always considered the mid-fifties pre-“retirement” era, which this hails from, his finest period (think Saxophone Colossus, another excellent alb[um], or stuff like “Manhattan” from the ill-fated Brass alb[um] on Verve) and Sonny’s at his best when he’s swinging freely, which the medium tempos and small-group setting of this affair enables him to do perfectly. Check out the mellifluous solo in “Come, Gone” for the absolute peak o’ post-Bop fifties cosmology. He knows his way around a ballad too, as “There Is No Greater Love” proves. What it’s all about is creating a voice, a language that’s distinctly one’s own…and it was around this time that Rollins was starting to do just that. The choice o’ Roy Brown and the underrated Shelly Manne on bass n’ drums, respectively, was more happenstance than any great calculation on the part o’ Sonny—what this alb[um] actually comes down to is Rollins’ attempt to ape the West Coast persuasion that was sweeping jazz during those years. Since that was a mostly whitey-led phenom, Rollins’ take on the whole thing is somewhat satirical, right down to the cover photo of him in a ten-gallon hat (GREAT fuggin’ cover too, this was the era when album cover art was just that—mainly, an artform, particularly in the realm o’ jazz). The choice o’ Manne as drummer is obviously a result of Rollins’ assimilation o’ “cool” but one must remember, during these years, Manne also sat in with ORNETTE [Coleman], who was also out in LA at the time, so y’ know, he at least had the foresight to see beyond the tepid stylings of most of his peers. And Roy Brown literally happened to be playing across the street so they nabbed him for the record. One of the highlights of this alb[um] is Brown’s very patient solo on “Wagon Wheel.” Elsewhere his playing is superb. Give these guys the golden donut for this one—and if y’ haven’t heard it, purchase immediately since it’s inconceivable there could a killjoy in the world who would not delight to its sweetened strains. That means even you, Jason.
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