blajay

nice listening last night OG Prestige. What an amazing album!! then DMM reissue then BN UA pressing then BN Classic Records

I've bought a mosaic set once without the box or booklet at a used music store. Couldn't pass up the Sam Rivers set for $40. I figured over time the discs just got separated from the booklet and box. But it is definitely sketchy and a whole 'nother thing to put up the Braxton mosaic discs still wrapped, but without the box, and before most people who preordered the set have even received their sets. Odd.

I got my box last night. Wish I didn't have work or I'd be listening now! Check out this jackass seller putting this up on ebay already--without the box and booklet!!! haha: http://cgi.ebay.com/Mosaic-Records-Anthony...id=p3286.c0.m14

Wasn't he supposed to do a Coltrane bio?

ditto! can't wait

Why stop there? First, you ductape a gerbil........gerducpormutteef! On that cable show where the guy eats unusual foods from around the world, he visited Ecuador, where the delicacy for centuries has been guinea pig cooked over an open fire. He said that it tasted much like a good pork loin, and was delicious. I tried guinea pig (cuy in spanish) in August when I was in Peru. Truly tastes just like chicken. Could definitely be the innermost filling--not a lot of meat. I'd definitely be sick though. haha.

Absolutely. I realize I could have just sent Chris a PM, but I wanted to keep this topic open for anyone else's input too. Although that's probably not even necessary after Chris' succinct response.

Thanks Chris. Those are exactly the sort of responses I was looking for. I'm honored and glad to be able to share this forum with you. What a strange character Van Vechten was! I wasn't even aware of the controversial book you alluded to. He does seem genuine, obviously flawed, but genuine. They do say the road to hell is paved with good intentions, though. I was just struck by how problematic his account is. I just think it is important to note that. And you did, in fact, by mentioning how anachronistic it was. In hindsight, I was probably more stirred up by its inclusion in Hodes' book without any commentary. It just struck me as odd because the copyright for that book is 1977. Interesting. It does seem that even in her book, not only in her classes, she used your book as a source of information and background, probably more than a previous work to criticize. Yeah, I suppose it could be considered overkill. I hadn’t thought about it as filler because she has gotten some really thin pamphlet-type books published in the past without an evident desire to needlessly extend them. Like you, I am glad to have it all there in one place. Great point. I actually thought that this was criticism for the sake of it on the part of Davis. She doesn’t really provide much explanation. Just seems like a random jab. Absolutely. Thank you for taking the time!

Johnny Hodges--Verve Small Group Sessions Discs 1 & 2

I mentioned in the “Which Mosaic Are You Enjoying Right Now?” thread that Art Hodes’ book Selections from the Gutter: Portraits from the Jazz Record makes a great accompaniment to his music. I found it especially fascinating in his descriptions of the early Chicago scene with Wingy Manone, venues like the Liberty Inn, and forgotten legends like saxophonist Bennie Moylan and boogie-woogie pianists Cow Cow Davenport and Montana Taylor. However, when I got to the Bessie Smith section, I inevitably ran into Carl Van Vechten’s ‘Memories of Bessie Smith.’ I’ve unfortunately read this same account of Bessie Smith’s 1925 performance from the lens of the particular rich white patron in three books now. I previously came across it in Chris Albertson’s Bessie and in Angela Davis’ Blues Legacies and Black Feminism. Chris, first of all I’d like to thank you for your work on the biography Bessie. One could not have asked for someone more dedicated to preserving the legacy of the important blues woman. Your knack for detail left no stone unturned. It is clear that you forged an honest, personal bond with Ruby and Maude, and it was wise to feature their touching accounts so prominently. Well done! Also, I should say that I truly benefited from your accurate accounts of Bessie Smith’s interactions with the KKK and the other racial terrorists in Texas, so please don’t take any of the following questions as implications that you ever glazed over Bessie’s experience as an oppressed Black woman. Regarding Van Vechten’s account, you correctly note its seemingly ‘anachronistic’ impression, as it was not written until 1947. I understand you wanted to cover Van Vechten’s role in the development of Smith’s career, but were you at all reluctant to include this account of her live performance? It doesn’t make me feel as if I have a first-person account of the show; it clouds any image I’d previously envisioned under a racist, exoticizing veil. I’d understand including it only for the purpose of disclosing the absurd stereotypes even the most dedicated white blues fan espoused, but you seem to use it in order to provide an example of what it could have been like to be in the audience at the time. Could you share your thoughts on this? Reading this little story again inspired me to grab Angela Davis’ book again. I had the honor of meeting Angela Davis about five years ago in Boston, where she spoke about the prison-industrial complex. Chris, have you met her, or did you have any interaction with her for her book? As I’m sure you all know (and if you don’t, read her autobiography), Davis has led a famous life as a student of Marcuse in Frankfurt, a member of the Communist Party, a leader in the Black Power movement, legal advisor to George Jackson and the Soledad Brothers, underground fugitive, political prisoner, professor of social theory, feminist, and prison rights advocate. Her aforementioned book on blues women is great not only for its critical look at the “aesthetic dimension’s” effect on the respective political agencies of Ma Rainey, Bessie Smith, and Billie Holiday, but it also includes the lyrics to every tune recorded by Rainey and Smith! In her book, Davis quotes Van Vechten’s account only because “its significance lies in the way it reveals the racist assumptions behind Van Vechten’s and other powerful whites’ appreciation of black cultural forms.” Again, that is all I got from it, anyway. Chris, since you are a member here on the board, I thought I’d also get your reaction to a couple of Davis’ other related assertions. RE: The reason for Bessie Smith’s uncharacteristic recording of popular tune "Muddy Water," and its Southern nostalgia for the "Dixie Way" Davis (BL&BF p. 88): "Why would Bessie Smith record such a song? Chris Albertson challenges critics’ explanation for the recording session during which this song was produced—which consisted exclusively of popular songs, including ‘Alexander’s Ragtime Band’ by Irving Berlin—as an attempt to revitalize her popularity by recording ‘commercial’ material. [Edward] Brooks is probably right in pointing to her lack of control over this material. Albertson notes that during the time this session took place, Smith was appearing at the Lincoln Theater in Harlem in a show that was advertised as ‘Bessie Smith and Her Yellow Girl Revue.’ Albertson suggests that she probably had nothing to do with the production and billing of the show, because ‘she had always expressed monumental disdain for light-complexioned women.’ What Albertson fails to indicate here is that it would not have been merely a question of prejudice on Smith’s part. In fact, during that period, light-skinned showgirls were the only ones given work in most of Harlem’s clubs and theaters.” (Davis then gives Chris credit for pointing out Joe Smith’s significant role as trumpeter on the takes of the tune.) Chris, do you have any response to this? RE: Bessie Smith’s understanding of race relations as well as class relations Davis (BL&BF p. 96): “ ‘Poor Man’s Blues’ was composed by Bessie Smith and recorded in 1928. Chris Albertson calls it ‘a poignant song of social protest’ and designates it as ‘Black Man’s Blues.’ As critics would later define Billie Holiday as ‘apolitical,’ Albertson implies that Smith ‘had no interest in politics,’ that, in other words, she was not capable of thinking about class relations—lines of demarcation between rich and poor—but only about race relations—those between white and black. However, the words of ‘Poor Man’s Blues’ refute this narrative of Smith’s political apathy. Mister rich man, rich man, open up your heart and mind Mister rich man, rich man, open up your heart and mind Give the poor man a chance, help stop these hard, hard times While you’re livin’ in your mansion, you don’t know what hard times means While you’re livin’ in your mansion, you don’t know what hard times means Poor working man’s wife is starvin’, your wife’s livin’ like a queen Please, listen to my pleading, ‘cause I can’t stand these hard times long Oh, listen to my pleading, can’t stand these hard times long They’ll make an honest man do things that you know is wrong Poor man fought all the battles, poor man would fight again today Poor man fought all the battles, poor man would fight again today He would do anything you ask him in the name of the U.S.A. Now the war is over, poor man must live the same as you Now the war is over, poor man must live the same as you If it wasn’t for the poor man, mister rich man, what would you do?” Davis then expands on the complex economic circumstances that black people found themselves in at the time and how Bessie Smith’s lyrics grasp the social roots of those circumstances. Chris, I know from my brief visits to the political topics on this message board that you come from a left perspective, perhaps not as radical as Angela Davis. Do you believe Bessie Smith was apathetic? Or was economic liberation an intention in her music? --Jay

It is! My favorite line in the section "Making a Record": [my emphasis] Great coverage of little known heroes of boogie woogie like Cow Cow Davenport and Montana Taylor. It is kind of like a predecessor to Art Taylor's Notes and Tones because of the raw musician's perspective, but without the overly-structured interviews and obviously subjective agenda. I should check out the Condon book. -Jay

Yep - a winner from the first note. I don't have any of this material so it is a bit of a revelation. 'Hot Jazz On Blue Note' for sure. Sound is pretty good too ! I've been reading Selections from the Gutter: Portraits from the Jazz Record, edited by Art Hodes and Chadwick Hansen. This makes an excellent accompaniment to the Hodes Mosaic. His stories of early Chicago scene are priceless, and his straightforward prose makes it all the more vivid.

He left the 16 master tapes in your apartment, or that label??! Amazing, if you mean the reels.

Happy Birthday!

Sounds painful.

Happy Birthday Ken!

Is this shit neccesary? I guess it could have been left out of this thread for being political, but hey I couldn't resist the pun. Besides, it's just Fox News, so it's fair and balanced, right? Nothing to worry about.

The scariest one

PM on the way!

Is it possible the guy was just excited, curious, and wanted to gather opinions? I agree that he is out of line in response, but how could he be spamming if he doesn't even know it is a band rather than a person?

Been going through Discs 1-5 of Classic Capitol Jazz Sessions tonight...

I should mention, I got it for $60 instead--not autographed by Saks. It isn't like you'd be paying the extra $15 to have it autographed by Bird himself, anyway.

A Lunch Supreme "Class, I need you Ascension in the front of the room!"

I will have to check that out. Literally. Haha. I wish--it's LIB USE ONLY--but I'm sure it's worth the visit. SFPL is great--I've been going through their entire jazz catalog of books and cds for the past couple years. Incidentally, I received my copy of the Norman Sacks Collection book "Charlie Parker and Jazz Club Memorabilia" the other day . Really comprehensive collection of acetate pressings, concert bills, and 45s. Sort of like if gokudo guy had a book.

Maybe someone could recommend some internet porn that's a little more interesting? PM sent. haha. Watch this episode of South Park for some ideas.