BillF

1975 and the mid-century author is taking on a few postmodern touches. I think she's at her best in the 60s.

Dave Liebman with the Vein Trio at Band on the Wall, Manchester on Tuesday.

Eileen Dover Gulley Jimson Rudy Vallée

Mc-Lock-lin Depends which side of the border you are on I guess (Scottish, not Watford Gap ). I always thought it was the latter. That's how my friend Danny Padmore who played bass with him in his early days pronounces it.

Mc-Lock-lin

Elmes Steele Jane Asher Bill Birch

"Last Train from Overbrook" from this: Sublime!

Marmaduke Moose the Mooche Quasimodo

Hans Keller Basement Jaxx Jack Straw

Donna Tartt Donna Lee Cheryl

The Cookers Jack Hobbs Volker Gass

Emily Bronte Johnny Mandel Prince of Darkness

Lazy Ade Monsbourgh Serge Gainsbourg John Constable

The Fol De Rols Sex Kitten Piglet

Emperor Penguin Emperor Rosko Mark Rothko

Manfred Mann Piltdown Man Shelly Manne

Bay City Rollers Rowley Birkin Dick Berk

Phil Upchurch Chappell & Co Kirk Lightsey

Who's on bass?

Standard and Poor Stan the Man The Getz Stuff Quintet

"Lady Bird" from this:

Sal Volatile Art Salt Tupac Shakur

Everton Weekes Patience Strong Davey Tough

Earl Miner Richie Cole Shaft

In fact I do understand you and in some places throughout the book i have felt that he leans towards working off a diary with dates, etc. too. And although OF COURSE I have not only never been there but also was born much too late to could have been there at all if I had just traveled there I approached the book from a totally different angle and like it just for what it is (to me, anyway): 1) It adds to the documentation of post-war jazz in Britain and fills gaps (stretching beyond the regional aspect of the book), including in its illustrations, that I feel won't be filled elsewhere - particularly since it adds to a lot of ground not covered by Jim Godbolt in HIS history (which I feel is nice for lack of a better one but I find it rather unbalanced and often scratching the surface only) 2) It essentially covers a key period of jazz that I am interested in and therefore avoids turning into a "history" book that purports to cover it all but ends up focusing too much on more recent decades because more recent material is easier available and researchable there and likely sales propsects are better if you mention artists still on "everyone's" minds 3) A strictly personal thing: I like those regional histories that IMHO flesh out the overall picture. Anyone can cover New York, London, as the no. 1 focus points and leave it at that, but ... I for one find lots of interest and merit in regional books on Detroit, Chicago, Newark, Boston, etc. I have bought over the years. Highly subjective, of course, and I would not expect too many others to attache the same kind of importance to those criteria. BTW, I would not consider it "essential" overall either but rather a very good "special interest" book. OK