johnlitweiler

I'm glad OKeh is back. It's been far too long since we got new Bessie Smith recordings.

Preston, thanks for the Gene Shaw interview - fascinating. I wish there were more recordings of Gene Shaw.

break a leg

She's a thoroughly melodic alto saxophonist, very creative improviser, sort of a freer Lee Konitz. Her bassist and guitarist, Matt Ferguson and Mike Allemana, were half of Von Freeman's 21st-century quartet for years. I haven't heard of her connection with Von, if any. GA, I really like that CD too.

Might be good jass at the Palm Court restaurant if Mrs. George Buck still runs it. The bird island in Audobon Park is spectacular in the spring (herons, egrets, spoonbills, etc.) - what is it like in the winter? A good, stress good, oyster poor boy, dressed, is a gift from God.

That link didn't work for me. This one should: http://hullworks.net/jazzpoll/12/totals-new.php That link didn't work for me. This one should: http://hullworks.net.../totals-new.php No it shouldn't. There should be only one period after 'net' - for some reason when I post the infernal machine adds two more dots

And New Orleans has some of the worst streets of any city in North America.

Davis's best of 2012 list has now been posted at http://hullworks.net/jazzpoll/12/index.php. There are at least 3 Organissimites who voted in the poll and agreed with each other about almost nothing. The Hal Russell NRG Ensemble and Clare Fischer Continuum were among the top 10 reissue albums.

'The Buddy Bolden Case' - what really happened: http://www.goodbaitbooks.com/bio.htm

wanna hear it first. preorders no

Jayne Cortez wrote 'If a drum is a woman, why do you beat her?' Bless her for that, among lots of other virtues.

I love Little Brother - he has that melancholy touch. When he does New Orleansy stuff, on his own - like Buddy Bolden's Blues or Salty Dog - it has that same kind of feel to it that Jelly Roll Morton had in the Library of Congress recordings, not that they sounded alike - but just that mood of recollection Yes indeed. Brother at the piano certainly had that special, relaxed New Orleans swing - does any pianist have that quality of grace in the 21st century? A good example of Brother's swing is the Bajes Copper Station album. He played regularly in Chicago clubs as a soloist and his music was a visit to another, better world. Off topic perhaps, but Muddy Waters' band used to often open sets with Back At The Chicken Shack or Spirit Feel, to let Pat Hare stretch out. They'd play Intermission Riff at the ends of sets. Two decades later Jimmy Johnson recorded Take Five on his first Delmark album (other Chicago blues bands took this song up too). Captain Walter Dyett, who taught Von Freeman, Gene Ammons, Joseph Jarman, most of the early Sun Ra band, etc. etc. etc. also taught Bo Diddley (to play violin) and the great blues-band drummer Freddie Below. Dave Waldman of WHPK likes to point out the swing-band pieces Little Walter quotes in his solos, from Lunceford, Mills Blue Rhythm Band, McShann, and so on - who knows, maybe enough that someone can write a Ph.D thesis tracing the sources of Walter's harmonica solos. Didn't Wayne Bennett start as a jazz musician?

He also spent some time accompanying Rex Stewart in a swing combo during those years.

Thanks for the music, Jim.

aloc would most likely be an $18.00 customer. premature ejaculation?

Congratulations, Jim.

Yes, and Song Of The Universe is a great performance. Makes you wonder how many other beauties Willette had in him.

MG, thanks for this history. As I think I said elsewhere, Esmond Edwards may not have been exactly empathetic with Baby Face Willette. Ajaramu, drummer on the Behind The 8-Ball date, said the producer had Baby Face in tears and he (B.F.) had to drink a quart of whiskey to complete the session. Note that Argo liked to have its artists record 3-minute tracks.

A good Chicago pianist, led a good band - led an Awakening reunion, as much as was possible to reunite, last Feb.

Yes. A challenging artist. At best he sounds like the first person who ever played a saxophone. Who issued this 7CD set? It was released earlier this year on the Japanese "Youth" label - it's a compilation of his PSF material (including Winter 72) plus an unreleased disc I bought my copy via Amazon Japan - have a lower price than other dealers but the shipping is the killer I see you didn't include a chapter on "Free Jazz in Japan" in your text (The Freedom Principle, 1984 edn) - had a relook at the book today I'd certainly like to hear more of and know more about the outside-jazz scene in Japan. Apparently there haven't been lots and lots of players and listeners. I bought 3 DIW CDS of Abe at DMG in NYC: "Last Date," "Solo Live at Gaya Vol. 3," and duets w/Takayanagi "Mass Projection." Incredibly intense saxophone improvising. The safest way to listen to them is naked, while rolling around in the snow. The couple pieces Abe did w/Derek Bailey are very disappointing, then. Apparently he was quite a variable player.

Is this another one? Yes! Thanks, Jim - I want to hear it.

"Whammin & Slammin" by Cozy Eggleston, a post-Jug Chicago alto and tenor saxist. It's the only Eggleston LP I know of, though he was playing in the 1950s. His death was announced on the radio today.

Yeh, Warne Marsh. So how many White Tenor players in the times this panel took place can be compared to the 'multitudes' of Black Tenor giants then. Obviously I'm talking about multitudes in terms of critical mass not derivation. Marsh and Tristano etc.al were an anomaly compared to the all cultural expression of Jazz as a Black music language. And Marsh, Tristano, Pepper, Bix, Trumbauer, Pee Wee Russell, W. Breuker, J. Adasiewicz, etc. etc. express Jazz as their own musical languages. Xlento!, as Hank Mobley might say. Nobody is denying that jazz was originally, and remains in terms of expressive, etc., aspects, a basically African-American tradition.

Warne Marsh didn't sound like multitudes, he sounded like Warne Marsh. Do you want your artists to sound like multitudes? And as for white alto players...

Loveliest rock & roll record ever. I also heard them sing it at the Regal Theater in Chicago in about 1961 or '62.