Captain Howdy

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  • Location California
  1. Any Idea Who's In This Lucky Millinder Band (1948?)

    Picture quality is better in this clip.
  2. Any Idea Who's In This Lucky Millinder Band (1948?)

    Scans are on now. If these URLs stop working, search for "lucky millinder" and select media type: image. Mine were added Jun 20, 201.7
  3. New Lester Young set from Mosaic Records coming

    I meant comparing the Mosaic to the Hep. I'll see if I can find that thread.
  4. New Lester Young set from Mosaic Records coming

    Has anyone compared the Decca tracks to the Basie CDs on the Hep label (Listen...You Shall Hear, Do You Wanna Jump, and Basie Rhythm)? Between those three CDs are all of Basie's Decca sides except for the small groups.
  5. Any Idea Who's In This Lucky Millinder Band (1948?)

    If anyone is still interested I can post the scans from the Chronological Classics for 1943-47 and 1947-50 which include discographies. If you have a preference, let me know where you'd like me to upload them, as it seems they're too large to attach here. I tried uploading to but it's not cooperating. 1947-50 is up there, at least for the moment, but 1943-47 never showed up.
  6. This show is syndicated on a handful of radio stations, but you can stream all past episodes for free online at I really like it for several reasons. First, it's devoted to a relatively neglected period. R&B or early rock 'n' roll shows usually trod the same ground, emphasizing doo-wop and extending into the early 60's; this show generally confines itself to the pre-rock n roll era. Second, most shows are devoted to a single artist, presenting their recordings chronologically, so they are education as well as entertaining. Other shows are devoted to labels. Third, he isn't afraid to get into the weeds: major artists like Louis Jordan get six 1-hour episodes! and there are plenty of obscure artists who are ignored everywhere else.
  7. Not much worse than Hamp, frankly. I think one of the reasons I find this so annoying is that it seems so affected, especially when classical keyboardists like Gould or Alfred Brendel do it. Lester Bangs derided Santana for making the-pain-of-universe-is-expressed-through-my-soul faces while playing (or words to that effect) and the exaggerated vocalizations seem to be a similar way of saying "Look at me! Look at me expressing myself down to the very depth of my soul!" I'm not just your run-of-the-mill musician: I'm an artist!"
  8. PBS American Epic Series

    Wow, Betty Lavette's comments about Ma Rainey, B.B. King, and Uncle Tom were really interesting.
  9. Maybe the problem is that I'm hearing it from a distorted perspective, i.e. someone listening to a scratchy recording, but even an amplified jazz guitar isn't very loud so I feel like the proper thing to do is shut the hell up and listen. But maybe in the room it was plenty loud.
  10. You say exhortation, I say disrespect. There's one track where Hamp hollers throughout Charlie Christian's entire solo. It's completely unnecessary. I think the man just wanted all the attention for himself.
  11. PBS American Epic Series

    Yeah, I'm sure there's a big market for that! Even Jack White isn't that crazy. Can you even play 78s on a modern turntable?
  12. PBS American Epic Series

    I almost skipped this fourth episode but I'm watching it now, and what I can't figure out is this: they say at the beginning that the soundtrack is taken from the shellac recordings, i.e. the sound you hear while you're watching the recording sessions is taken from the resulting shellac. But they sound like modern recordings. They don't sound like any of the transfers of music that was actually recorded in the 1920s or 1930s. So far no one has addressed this discrepancy.
  13. Yeah, my reference to Tourette syndrome was tongue in cheek; no offense intended to anyone. Your example of Roosevelt Sykes providing encouragement and zest reminds me of Elvis Costello's live at the El Mocambo recording which I don't believe I've heard but is supposedly infamous for one guy in the audience yelling loudly throughout the entire show. As far as I'm concerned, anything that isn't produced by an instrument or an ordained vocalist shouldn't be on the recording. I'm willing to tolerate "exhortations" more in live recordings, but in a studio I think musicians should contain themselves. I should also admit that I have a near-phobia of people making non-verbal noises with their mouths. That's why I can't stand scat singers, and Iggy Pop and James Brown quickly get on my nerves.
  14. I've been listening to the Charlie Christian Masters of Jazz Series and once again I find that every track Hampton plays on is ruined by his obstreperous barnyard vocalizations. For the same reason I can't listen to Benny Goodman's quartet recordings. I can't imagine why a bandleader infamous for "The Ray" put up with that racket. Curiously, on most of the tracks recorded under Hampton's own name that I've listened to his baa-ing and grunting can't be heard, which suggests he used it consciously as a way of notifying listeners of his presence on other people's sessions. Of course Hamp wasn't the only musician who indulged in vocalizations--Oscar Peterson often sounded like the Hamburglar scatting--but he seems to have been the most obnoxious. So I'm wondering 1) do vocalizations annoy other people as much as they do me? 2) are they common among musicians? 3) do they have any purpose?