John L

Very interesting record. I agree that it is not Charlie Parker. The rhythmic feel is different. But it's good.

When they played together, I can recall Billy usually looking straight at Cedar with that trademark huge smile on his face.

RIP

I will just say this: I think that there is a huge difference between minstrelsy and most white people in urban areas today who carry themselves not in an entirely "white" way. The former is a stage show, where white people "blacken up" and pretend to be something that they are not. The latter is much more genuine, often white people who grew up exposed to, and sometimes surrounded by, African American culture and sensibilities. It becomes a part of them. That is not to say that there is no such thing as modern day minstrelsy. But it is not that simple

RIP

RIP

I am fairly sure that this is the only known recording of Bird playing White Christmas.

You may be right. My knowledge of the Butterfield Blues Band is limited. I have always thought that Butterfield was interested in fronting a pretty standard Chicago blues band, as reflected on the first album, and that it wasn't him that pushed in the direction of East-West. I guess I just base that on things that I have heard through the years, although I can't recall anything specific at this point. I certainly do agree with you that he was a great harmonica player.

When I think of Paul Butterfield, the word "originator" does not come to mind. The degree to which the Paul Butterfield Blues Band paved new ground, I don't think it was Butterfield who was really doing it - Bloomfield to somewhat a greater degree. I think of Paul Butterfield as a damn good Chicago bluesman and harmonica player who just happened to be white. Yes, he was much more authentic than Mayall. He embodied the Chicago blues in a serious way. But I don't see him as some kind of innovator.

The 70s are special to me since that was the time that I got interested in jazz. I remember that it was a strange feeling. Looking back at jazz history, the 20s-30s-40s-50s-60s felt like a strong progression headed somewhere. But where? Some argued that it was fusion. In reality, things were going in all sorts of different confusing directions: backwards, forwards, sideways, every which way. But in retrospect, damn was there a lot of great music being made!

Ron was a great and unique guy. I regret never having met him in the flesh, although we were in communication for more than 20 years. RIP

Very sad indeed. RIP

It seems like people who argue for the superiority of classical music over jazz are always coming from classical music, and are always using the metrics of classical music to evaluate jazz. Jazz is founded in rhythm as much as harmony, and not "rhythm" as defined in classical music by time signature. Rhythm in jazz is played around the time signature in the African tradition, something that simply does not exist in Beethoven. That, and not improvisation per se, is the primary reason why comparing jazz and classical music is like comparing apples and oranges.

Some of his later records are quite worthwhile, including the one highlighted by Jim S above. When people used to request "Right Place, Wrong Time" at his shows since the 1980s, he would often reply "I don't play that shit no more." RIP. It feels like Mac took a piece of New Orleans with him when he left.

RIP. I really appreciated Chris. It is worth noting that the course of recorded jazz would have been a bit different without him. There would be no Ida Cox comeback album with Coleman Hawkins. There would not be those beautiful Lonnie Johnson albums with Elmer Snowden. "Bessie" is one of the truly great jazz books. Chris was a unique individual, always very generous and consistently intolerant of racism and injustice.