AllenLowe

just terrible. This kind of stuff just throws me.

just a note - I have the Collectables CD which is a complete botch, sound-wise, just a mess. I just noticed on Amazon (and ordered it) that there is a separate release from WEA, which did the other Atlantics like Mingus and dd a superb job of mastering - it seems to be out of print, so I would suggest snatching it up while you can.

I tend to agree with Larry (hope that Fresh Sound order gets here soon).

not that he flubs it, Jeff. Maybe invents it is more accurate. As I said, I can't get into this any further, except to say that researchers whom I trust and who know N.O. well find the book to be largely a work of the imagination. Like with Howard Reich who, in his own book on Morton, cites a visit to Bill Russel's house, but who turns out to be citing the wrong place.

well, the question is whether we can believe in the transcribed accuracy of anyone Marquis quotes; there's a rash of these guys in the jazz field (see also John Lincoln Collier and Al Rose). The problems of basic accuracy are....sobering.**** ****pun intended.

I never liked Rosenwinkle. My guy in Maine - Ray Suhy - could play rings around him.

I was thinking of the guys who stayed home, and became part of the revival (Kid Rena, Kid Thomas, etc) - I don't think we would find Bolden's playing any less impressive than others of that time who played in a very basic ragtime style - Oliver, Landnier, Keppard, Mutt Carey, Natty Dominique, and then later Bunk - with all of these players it was less the notes than the expression, which was not well captured until the electrical era, and then imperfectly (one thing, for example, that is regularly said about Bix is that the recordings don't catch his power).

sorry to be such a negative guy today, but Al Rose is another one we have to be careful of - turns out that, in his story writing about New Orleans, he made up a good deal, to the point that no one knows, any more, what happened and what didn't. He was a very dishonest guy; I ran into his son in Maine, about 10 years ago, and he had even worse things to say about his old man. Jeff - liistening to those Hornsbys - wow. What a find. Thanks -in terms of the voicings (at the beginning) I even hear a little Tatum.

I'm completely ignorant in these matters (sorry, there's only 24 hours in the day) but I think we shouldn't under-rate McCartney, who did, indeed, turn to shit as soon as the Beatles broke up. But he did incredible things with that group, and played some of the best guitar solos that George couldn't come up with. His music hall/cornball sensibility needed Lennon's absolute cynicism, however, for him to do his best work,

for reasons I won't say in a public forum, I would pretty much disregard Marquis. So to me the best testimony is in the Russell book on New Orleans Style, which indicates it was a hard and primitive sound. Keppard I would doubt, based on this. Wooden Joe, yes, and Tocca, IMHO, more than anyone.

how do know it's the same Universal? Anybody could slap that name on it. well, it looks like it is Decca - which should, theoretically at least, have actual and great sounding masters of their own on a lot of this - remains to be seen,

these are all good sources - thanks, Kenny, Tocca just, to my ears, has something extra.

to me, the guy standing behind Miley appears to be African American,

she was more demanding then that -

I agree, Mark is great. I bow to his authority,

she was always very hands-on (ask Monk) -

just checked wikipedia - she's 127.

Tocca, btw, continues to amaze me - the sense I have of Bolden is of primitive charm, sheer power of sound: check out a little of these samples: http://www.folkways.si.edu/TrackDetails.aspx?itemid=5209

after talking to Larry Gushee about this for some time, and reading what may be the few reliable accounts of Bolden's sound (in Bill Russell's New Orleans style) and talking to John McCusker (who has a Kid Ory bio in the can) - I would report that the men to listen to for clues are: Ernest Coycault (played with Sonny Clay in California) Wooden Joe Nicholas Lawence Tocca the first two are at Gushee's suggestion; the Tocca is my own guess based on what he sounds like on some of the things he did with Emile Barnes. In my opinion Tocca is the most interesting of the N.O. trumpeters, post-Armstrong. Lotsa power.

actually, I don't think that's Miley - and if it is, they are not playing "live," so you can't really judge the technique.

I don't think Scientology is the same thing as Islam - and I do think Scientology has an impact on many of Corea's pseudo-populist postures.

www.ifyougottaaskyoucan'taffordit.com

of course, there's also all that stuff on Youtube - who's getting paid for that?

The Complete Bootlegs: EVERY ILLEGAL JAZZ RECORDING EVER REISSUED

I don't disagree with you and I do think the projects I do are different in that they are original compilations, though there are indeed some grey areas. For me it's a matter, often, of convenience (and I was thrilled to have those Handys in good sound). The truth is I am, like a lot of other people, conflicted, as I have dealt with legit majors and legit independents and found them to be equally indifferent in their business practices. And David Weiss' comments, above, struck a nerve (and hey, I dealt with the worlds largest goniff, the late Bernie Brightman; though I thought my deal was air tight - there was little money exchanged - he still managed to rip me off from the grave, but that's another story). I still think if we went the purist route, our collections would pretty much disappear.