BillF

Too much "jumping" going on in this thread lately. Please check your posts to see if you're too late. Hop Wilson SKip Spence Clint Hurdle Yes, Paul! Clint Eastwood D H Lawrence Jimmy Nottingham Robin Hood Boyz 'N da Hood Boyz to Men Pet Shop Boys Pet Clark Andrew Wilfahrt

Too much "jumping" going on in this thread lately. Please check your posts to see if you're too late. Hop Wilson SKip Spence Clint Hurdle Yes, Paul! Clint Eastwood D H Lawrence Jimmy Nottingham

Jan Garbarek Greta Garbo Lonely Woman

Volpone Pony Poindexter Gordon of Khartoum

Sonny Fortune Lord Fortis Lord Gnome Little Pixie Pixie Lott Mona Lott

King Cole Blahud Baby-Eating Bishop of Bath & Wells The Bonking Bishop of Brentwood The Dirty Vicar Filthy McNasty Pigpen Smiffy Baldrick Charles the Bald Walter Pater Richard Dadd

King Cole Blahud Baby-Eating Bishop of Bath & Wells The Bonking Bishop of Brentwood The Dirty Vicar Filthy McNasty

Clearly a potentially formative event for listeners/musicians of your generation, Sidewinder! Alan Barnes said he travelled down from music college in Leeds to hear Pepper at Scott's that week.

Thanks Sp. for your well informed answer. Between you and Thom Keith, we really seem to be getting somewhere! I'm relieved that you both seem to like many of my selections; I had my doubts on that score! You seem very good on the technicalities of recording - I've got cloth ears where that's concerned! Track1 As you say, recorded Englewood Cliffs, but your date isn't right. Yes, it's Buster Williams on bass - direct hit!! Trumpet and drums not identified. I really like the trumpeter. Hope you do, too! Track 2 Excellent! Thad tune and chart and recorded after his death, but not Mel on drums. Track 3 West Coast, yes, and Golson, yes, which is interesting to say the least! As you say, a Prez-inspired tenor, but not one of those you've named. We'll return to your comment on trumpeter 2. Track 4 Not a Pettiford composition, but written in that era. Track 5 Thanks for the info on why the sound isn't good here. The music certainly deserves to be heard properly! Your comments on tenor players are in the right general direction, but only general. Track 6 Your best answer so far - masterful! Correct on Hammond, Hawkins, Morton and Warren! Swing/bop mix in the pianist is right - who is he? Trumpeter not guessed yet. Track 7 West Coast, indeed! Glad you like the arrangement - I love it - and the composition! Who's that Prez-ish tenor? Track 8 You're right - it's not the pianist's band. Your date's not right, though and it isn't George. Track 9 Tune identified; I agree on "boppish voicings". Track 10 Some way to go on this one! Track 11 Right on "Segment", wrong on the altoist and the date. Track 12 Glad you like this one. I do, too. None of the names you've mentioned are accurate, though. Track 13 Like Thom Keith, you know your Birdology and have the tune right. I also hear Herb Ellis echoes, but it's not him. I also agree about the "Silver but more notes" diagnosis on the pianist, who can swing like mad, incidentally. Thanks again for a timely response!

Christie Quentin Crisp Elephant Man James Ivory Whitey Mitchell Sidney Keyes

Little Niles Kate Hudson Mississippi John Hurt

Happy Birthday!

The Chingford Skinhead Billericay Dickie David Essex

Wonderful music, wonderful price! http://www.jazzdiscography.com/Labels/felsted.htm

Niko Harpo Groucho Howard Marks J Spliff Little Weed

Mother of Necessity Mother Nature Mothers of Invention Frank Zappa Blaster Bates Master Bates Onan Conan Letterman Alpha Male Emily Post Johnny Mandel

Mother of Necessity Mother Nature Mothers of Invention Frank Zappa Blaster Bates Master Bates

But not in a relationship, I take it.

Jazz Record Requests from BBC Radio 3 Now playing: Big Maceo Merriweather, "Just Tell Me Baby"

Jazz Library from BBC Radio 3: Lalo Schifrin

Lady Chatterley's Mother Four Brothers Brothers and Other Mothers

Pox Doctor Dr Crippen Walter Sickert Jack the Ripper Rip Van Winkle Kipps

Cannonball Bullitt Neville Shute Evel Knievel Boll Wievel Dr. Evil Dr Too-Much Dr Demento Dr Pox Raghavjee

Oh, I'm not suggesting these musicians are choosing the style of music for commercial reasons; the love is clearly genuine. Just that often the way it's assembled has a clear marketing angle. Which is understandable - like anyone else making a living you have to get your wares noticed. What seems to have changed in the last 30-40 years, however - and I think this is where Reynolds is coming from - is that it used to be easier to market things as new and breaking with the past. Whether the music of the 60s/early 70s really was iconoclastic or not all the time, the idea of breaking new ground was one of a number of marketable concepts at that time. It still has a hold on niche listeners but I don't see that desire to tear it up as being anywhere near as attractive an ideal as it was once. This is a general feature of the arts in our times and is characteristic of the move from modernism to postmodernism. Where jazz is concerned, I recall reading a very meaningful chapter on this in Alyn Shipton's New History of Jazz. I agree that use of the names of jazz musicians from the past serves as a marketing strategy, but it also acknowledges that the past was a classic era when giants were alive, as contrasted with today's minor figures who understandably want to imitate. In this jazz is experiencing what has always happened in the arts: there's a classic era and then there's what used to be called a "decadence" - from Marlowe, Shakespeare and Ben Jonson on the one hand to Beaumont and Fletcher on the other; or from Raphael, Leonardo and Michelangelo on the one hand to Tiepolo on the other.

Oh, I'm not suggesting these musicians are choosing the style of music for commercial reasons; the love is clearly genuine. Just that often the way it's assembled has a clear marketing angle. Which is understandable - like anyone else making a living you have to get your wares noticed. What seems to have changed in the last 30-40 years, however - and I think this is where Reynolds is coming from - is that it used to be easier to market things as new and breaking with the past. Whether the music of the 60s/early 70s really was iconoclastic or not all the time, the idea of breaking new ground was one of a number of marketable concepts at that time. It still has a hold on niche listeners but I don't see that desire to tear it up as being anywhere near as attractive an ideal as it was once. This is a general feature of the arts in our times and is characteristic of the move from modernism to postmodernism. Where jazz is concerned, I recall reading a very meaningful chapter on this in Alyn Shipton's New History of Jazz.