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Additions: Martino ,Pat Undeniable: Live at Blues Alley $2 former library copy modified packaging E. Alexander Masters ,Mark/Lee Konitz One Day With Lee $7 new, sealed Mendes ,Sergio & Brasil '65 Best of $4 Wanda De Sah Mendes ,Sergio The Swinger From Rio/The Beat of Brazil $3

Such a great set! ❤️❤️❤️

Joe Wilder “Wilder 'n Wilder” Savoy 20 bit lp facsimile cd With that outstanding trio: Hank Jones, Wendell Marshall, Kenny Clarke.

Sorry to hear this. I love his voice. Wasn't he the longest-serving Zappa sideman?

Arguably Frank’s best lead-singer (at least in my estimation) — with a nimble and rich baritone. Super nice guy too — I met him just once, fronting Project/Object (a damn good Zappa tribute band) in the late, late 90’s. Caught him well before the show in a small club after a very informal soundcheck, and he just hung out at the bar for a good hour before the show started. He was cordial, unassuming, and totally down to earth. Didn’t talk his ear off (nor he mine) — but he didn’t mind conversation at all — I think we chatted a good 10-15 minutes. I asked him what he’d been studying at Wash U (in St. Louis) when he met Frank — and I think he said political science, iirc. Never got to hear him with Frank (nor Frank) — I didn’t really discover Zappa until I was in college in the late 80’s (at least beyond the like 5 songs I’d heard on the decent AOR classic rock station in St. Louis in high school in the mid-80’s). One of the most interesting voices (timbres) in all of rock music. Expressive, full-bodied, and genuinely unique too (not ‘weird’ but definitely different). RIP Ike. ♥️ PS: Ike kinda reminded me a little of (jazz vocalist) Kevin Mahogany too, come to think of it (I knew Kevin a tiny bit when I was back in KC, and sat with him and his wife a few times at other people’s gigs — talked with him more at one club I used to frequent, than I ever actually got to hear Kevin sing). ANYWAY, Ike and Kevin had a somewhat similar presence (in conversation), if I’m remembering. At least their rich speaking voices (and Billy Harper’s too).

+1 Broadly speaking ... But of course tastes do differ, and I realize there are those who feel they have exhausted the kicks they got out of the styles of jazz Peter Friedman named. But from a certain point beyond that (beyond the "canon" of Free Jazz of the 60s, that is) you are bound to get into the realm of "if they don't know how to call that music they'll call it jazz. But is it still jazz and why call it jazz in the first place if those who insist on calling it jazz despise so vehemently what came before it in jazz, stylistically speaking? A case of usurpation, maybe?" But this is getting us far away from the music of Charlie Parker, isn't it? Yet isn'it it amazing that while Bebop definitely upset the world of jazz (making it seem like jazz had burst apart and never was going to be put together again) some 80 years ago, Bebop has become part of the evolutionary continuum of jazz many, many decades ago, whereas what happened and continued with Free Jazz and the avantgarde AFTER, say, the 60s, is still a subject of never-ending controversy even today, some 50 years later? Could it be that there IS a limit to what you can squeeze into even a BROAD stylistic category? (Sorry for this O.T. remark ... )

May 21, 2026: Stockton Helbing, Bank of America Theater, Richardson May 23, 2026: Ken Vandermark, Monk's Jazz Club, Austin May 29, 2026: Shelley Carrol, Scat Jazz, Fort Worth May 30, 2026: Jackie Venson, Beer City Music Hall, Oklahoma City Amina Scott Quartet, Monks Jazz Club, Austin June 2, 2026: Chuck Redd, JazzTX, San Antonio0 June 6, 2026: L Shankar (double violin), Unity Church of the Hills, Austin Abhisek Lahiri (Sarod) & Subrata Bhattacharya (Tabla), Kathak Rhythm Studios, Plano June 7, 2026: Eleonora Strino Duo, Unity of Dallas June 8, 2026: Eleonora Strino Duo, Bates Recital Hall, Austin June 9, 2026: Eleonora Strino Duo, Dianne Benaco Concert Hall, San Antonio June 10, 2026: Eleonora Strino Duo, Bayou Theater, Houston Bill Charlap Trio, Parker Jazz Club, Austin June 11, 2026: Shelley Carrol, Bank of America Theater, Richardson June 12, 2026: Bill Charlap, JazzTX, San Antonio Quamon Fowler, Scat Jazz, Fort Worth June 13, 2026: Bill Charlap Trio, Windmills, The Colony June 17, 2026: Hamilton de Holanda Trio, JazzTX, San Antonio June 19, 2026: Mohini Dey, Windmills, The Colony June 20, 2026: Mohini Dey, Windmills, The Colony Shelley Carrol, Scat Jazz, Fort Worth Bobby Rush, Poor David's Pub, Dallas June 21, 2026: Delvon Lamarr Organ Trio, Lowdown, Tulsa June 25, 2026: Yotam Silberstein, JazzTX, San Antonio June 26, 2026: Oz Noy, Windmills, the Colony June 27, 2026: Oz Noy, Windmills, The Colony June 28, 2006: Oz Boy Organ Trio, Parker Jazz Club, Austin June 30, 3036: Jason Marsalis, Parker Jazz Club, Austin July 10, 2026: Yoko Miwa Trio, Windmills, The Colony July 11, 2026: Yoko Miwa Trio, Windmills, The Colony July 18, 2026: Lurrie Bell, Antone's, Austin July 20, 2026: Marcos Valle, Mohawk Austin July 26, 2026: John Primer, Antone's, Austin August 1-2, 2026: Satchmo Summerfest, New Orleans August 22, 2026: S. Akash (flute) & Vivek Pandya (tabla)/ Manas Kumar (violin) and Ojas Adhiya (tabla), Unity Church of the Hills, Austin August 27, 2026: Buddy Guy, Majestic Theater, San Antonio August 28, 2026: Buddy Guy, Austin City Limits August 29, 2026: Buddy Guy, Cynthia Woods Mitchell Pavilion, The Woodlands August 30, 2026: Buddy Guy, Majestic Theater, Dallas September 5, 2026: Samara Joy, Afro4 Jazz Band (Nigeria), Riverfront Jazz Festival, Dallas September 20, 2026: The Bad Plus, Lowdown, Tulsa September 21, 2026: The Bad Plus, AM/FM Lounge, Dallas September 22, 2026: The Bad Plus, The O4 Center, Austin September 23, 2026: The Bad Plus, Stable Hall, San Antonio October 10, 2026: Niladri Kumar (sitar), Stafford Center, Houston October 11, 2026: Niladri Kumar (sitar), Austin October 18, L. Shankar (violin), Selvaganesh Vinayakram, Swaminathan, Amit Kaythekar (percussion), Matchbox4, Houston

Listening to free or avant garde has never provided me with any pleasure. The ones I love are the ones you mentioned plus soul jazz.

I was hoping to go but the ticket prices are absurd. I’m a bit turned off by FIFA’s commercialism so I may not watch.

Another indicator of the poularity of the tune in 1956: Looking at the King discography by Michel Ruppli, I noticed the two VOCAL versions of "Honky Tonky" sung by Tommy Brown: -- the first one on King 4976, rec. on 18 Sept. 1956 (backed by Bill Doggett's Combo according to Ruppli, but on the label shown on Discogs it says "Clifford Scott Orchestra", --- a second one on King 5001, rec. on 29 Oct. 1956 ("Bill Doggett, vocal by Tommy Brown") which is here on Youtube: It sounds like the first version is here (below, starting at 2:34). The sax is a bit more to the fore here. (But I did not do a full comparison.) https://www.youtube.com/watch?v=FAB3zdGQf1Y Amusing and interesting, but atypical for that tune, isn't it? Maybe a concession to pop music buyers more weaned on (sing-along?) vocals. And non-essential to my ears.

Yeah neither of us can testify about how long it takes to smoke a cigarette. I think the evidence is most compelling that Doggett forced Syd Nathan's hand to green light a two-part track, and that it was the centerpiece of the recording session, not an afterthought. I also think it likely that it was played before the gig in Lima Ohio, likely with Percy France in the group, but that it caught fire at that dance and because people asked for it to be played again, it got Doggett to thinking.

My question about Schaap's observations was a hypothetical one and I guessed the answer (yours, actually ... ). But still I'd say it would have taken a LOT of used King 4950 singles to examine to come up with an assertion that holds water and goes beyond anecdotical evidence. As for the smoke break, doesn't this just make for a nice story too? Anyone can vividly imagine how this happened. Besides, I've always been a non-smoker but is it unreasonable to figure you can finish a cigarette within 2 1/2 minutes, particularly a non-king size one? (Remember as well the longer 100s were still more than a decade away),

Anyone else getting ready for next month's World Cup? I won't be at any stadium, but I expect to watch many of the games.

It's pretty clear Schaap was talking about the original release of Parts 1 and 2, not any subsequent reissue of one over the other. Clearly though Honky Tonk Part 2 being picked is an indication of its overall popularity. Which brings up another aspect I didn't get into ... but what's with the "engineer left the equipment running for a smoke break" but also "keep going, keep going, keep going"? Fastest smoke break in history? Because he would have had to come back fast enough to keep them playing, too. I find that aspect of the story a bit questionable.

@medjuck: Re- Topsy: Maybe there WERE some out there among these 6 millions who had been exposed to the Cozy Cole hit single first (due to its "oldies" status) and then became curious enough to check out its origins? BTW, not wanting to unduly debunk Phil Schaap's story about which side of the original "Honky Tonk" singles often wore out faster than the other, but there is some postscript to the "Honky Tonk" chart history, it seems: Acording to the list of Bill Doggett chart successes on the back cover of his "All His Hits" compilation LP on King/Gusto 5009, "Honky Tonk" entered the Billboard Hot 100 in early February 1961 again, spent 10 weeks on the charts and made it up to no. 57. And this time it was "Honky Tonk Part 2" that charted! See the below Billboard Hot 100 excerpt of March 1962 to show the company it was in at the time. N.B. At that time Bill Doggettt had already signed with Warner Brothers. The two original Honky Tonks had been on King 4950 in 1956, but the 1961 single was released on King 5444 and here "Honky Tonk Part 2" was coupled with "Floyd's Guitar Blues" (rec. in December, 1958). So do we know which King singles Phil Schaap most often saw that led him to think "Honky Tonk Part 2" was more worn? 4950 or 5444? After all it would not have been much of a surprise if the "Honky Tonk Part 2" hit side of King 5444 would have received more spins. (But we'll never know, I guess ...)

Not sure but one of the things I've noticed on WKCR broadcasts of Honky Tonk in performance is how Schaap would constantly introduce it with some sort of variation on this: "There was a hit record back in 1956 and me and my friends were saying "what's that sound? What's that sooouuunnd? Well it was the tenor sax of this man (it wasn't) Percy France ..." I always thought this story was so unlikely ... Schaap was 4 or maybe 5 years old in 1956. He and his toddler friends had records to play, especially easily breakable 78s? Or that Schaap didn't know what a saxophone sounded like? Well it turns out in the interview I quoted from in the story, Schaap fleshed out the story and said that a neighbor (he of course remembered the kid's name) had heard the tenor sax on Honky Tonk and indeed, asked "What's that sound? What's that sooouuunnd?"

When I began listening to jazz in 1961 I discovered that Topsy was originally by the Basie band. I just checked it on Spotify and saw that the Basie version has twice as many plays (6 millions) as One O'clock Jump.

Time for some Pops. Never can have enough. This is prime Louis. Louis Armstrong “The Alternate Takes In Chronological Order Volume 2 1935-1944” Neatwork cd 300×300 11.5 KB

Re-visiting this recent Resonance Records 2 cd reissue of Rahsaan Roland Kirk “Seek & Listen: Live at the Penthouse.” I’m listening to disc 1 Was there anyone else really like Kirk? He was unique in several ways. And I think one of the few who really deserve to be called a genius.

Thanks!

OTOH, "Honky Tonk" figured as such (either without singling out one part or by naming both parts simultaneously) in the chart listings wherever you looked. (Billboard, Cash Box etc.) So apparently the tune was treated as one entity. Two random examples: The below excerpts from Billboard of 22 September 1956 and Cash Box of 1 Sept. 1956. Whereas it was "Topsy Part 2" that was the hit. I don't know if Part 2 was pushed intentionally, but maybe the more organ-heavy Part 2 was considered to have more hit potential in 1958 than the horn-led Part 1. Your explanation about who would have been more inspired by whom in exploring Part 1 or 2 of "Honky Tonk", wearing out the respective sides, does sound plausible, anyway. I wonder, though, if Phil Schaap's observation was anecdotical or if he actually had had several dozen copies of the originals in his hands.

Muggy morning. Starting off with a recording I haven’t heard in some time, Howard Wales and Jerry Garcia “Hooteroll” 586×234 101 KB