jeffcrom

The Dead Milkmen The Postman (who Always Rings Twice) Emily Post

Tony Scott - Scott's Fling (RCA Victor)

Frank Wess - North, South, East... Wess (Savoy)

Dang.

Sunday Jazz a la Lighthouse, Vol. 1 (Contemporary). A gorgeous copy I found yesterday, from the early 1960s, I think, based on the albums pictured on the inner sleeve.

The Trumpet Album (Savoy two-fer); the 1957 session with Shorty Baker, Emmet Berry, Art Farmer, Ernie Royal, and Charlie Shavers.

Paul Quinichette - On the Sunny Side (Prestige OJC)

Dang - I missed it! Glad it was a goo birthday.

Atlanta guitarist Jacob Deaton produces the "Sounds From the Underground" series at the Elliott Street Pub every Monday night. Tonight Kevin Scott, a bassist with whom I've played many times, played guitar in an improvised duo with a drummer. It was great - Derek Bailey meets Johnny Guitar Watson! I didn't even know that Kevin played guitar.

I pre-ordered the Monk BN, and remember being annoyed when the release date was delayed. Don't know what my number was, because I sold it when the BN CD set came out. I probably wouldn't do the same now, but don't really regret it. Since then I have bought quite a few Mosaic sets, but I am by no means a completist.

Sun Ra - EP Collection, Vols. 1-3 (DIW). More from the show that produced the Live at the Pit-Inn album.

Marion Brown - Juba-Lee (Fontana Japanese reissue)

Hope your copy sounds better than mine - looks good, but is very crackly.

Since there's this new thread here.... A banjo player had to go downtown and run some errands after rehearsal, so he threw his banjo into the back seat of his car, drove downtown, and parked at a parking meter. He went to the post office, paid his water bill, and picked up some stuff at the hardware store. As he was paying for his purchases at the hardware store, he thought, " Oh my god - I left my banjo in plain sight in the back seat of my car in this dangerous city. Someone's going to break into my car!" So he ran back to his car, and his heart sank as he got close - the back window was broken out. He looked in, and sure enough, there were three more banjos in the back seat.

Nice parody (I hope), but how many (any) did they sell? And no, I'm not thinking that my library should buy it! According to the article, it's a limited edition of ten, and they have actually sold one. For those who don't want to read the article, it's The Residents' Ultimate Box Set, with a price tag of $100,000. No, that is not a typo.

Yes. And when I'm not, I have to have it anyway. Music is a necessity of life for me, like food and air.

This might deserve its own thread, but I can't bring myself....

Payment sent - thanks for offering these.

PM on its way for: Jimmy Smith - Six Views of the Blues (Blue Note 21435 reissued 1999) - $8 Lee Morgan - Sonic Boom (Blue Note 90414 reissued 2003) - $7 Freddie Redd - Redd's Blues (Blue Note 40537 reissued 2002) - $7

Great thread! Here's 20 from me - songs and albums, in no particular order: The Klezmatics - Rhythm & Jews Defunkt - Thermonuclear Sweat The Allman Brothers Band - Eat a Peach R.L. Burnside - Too Bad Jim Robert Johnson - King of the Delta Blues Singers Fela - Zombie Rascher Saxophone Quartet - Music for Saxophones Joni Mitchell - "Furry Sings the Blues" and "Tea Leaf Prophecy" Randy Newman - Land of Dreams and "Shame" The Radiators - Wild and Free James Booker - Resurrection of the Bayou Maharajah O.V. Wright - The Soul of O.V. Wright Professor Longhair - New Orleans Piano Jimi Hendrix - Band of Gypsys Sounds of the South (Alan Lomax field recordings - Fred McDowell, Hobart Smith, Vera Hall, Wade Ward, Mississippi fife and drum music & more) Alan Lomax's 1947-48 Parchman Prison songs; I've had various issues over the years. James Brown - "Cold Sweat" Blind Willie Johnson - Complete Recordings Al Green - "Love and Happiness" Howlin' Wolf - "Killing Floor," "Smokestack Lightning," "Moanin' at Midnight," "Commit a Crime," etc.

All my Sara Martin Okeh 78s, including a new find (Don't You Quit Me/Jug Band Blues). Condition ranges from very good to pretty worn. Martin had a harder voice than the really great female blues singers of the 1920s, like Bessie Smith and Ma Rainey. She was very good, though, and there are some very interesting accompaniments here. Sugar Blues/Achin' Hearted Blues (1922). Clarence Williams, piano. You Got Ev'ry Thing A Sweet Mama Needs But Me/'Tain't Nobody's Business (1922). T. Waller, piano. Last Go Round Blues/Mama's Got the Blues (1922). Thomas Waller, piano. These two discs with Fats on piano are a breath of fresh air after Clarence Williams' playing. Michigan Water Blues/Keeps on A-Rainin' (1923). Clarence Williams, piano. Blue Gum Blues/Slow Down Sweet Papa Mama's Catching Up With You (1923). The label just says "Piano Accomp.," but it's probably Porter Grainger. It's definitely someone better than Williams. Roamin' Blues/I've Got to Go and Leave My Daddy Behind (1923). Sylvester Weaver, guitar. Goodbye Blues/Longing for Daddy Blues (1923). Sylvester Weaver, guitar. With Weaver backing her, Martin's voice is gentler and softer-edged; it's a nice contrast to the more aggressive style she adopts with pianists or bands. Don't You Quit Me Daddy/Jug Band Blues (1924). With "Sara Martin's Jug Band" - actually Clifford Hayes' Louisville Jug Band. The most worn of these, but a very cool record. A very enjoyable 45 minutes of music.

No distractions to suggest, but you are in my thoughts.

Bluestown was a Boston based label (believe it or not) run by a guy nicknamed Skippy White who had a record store there - it may still be in business, for all I know. Guitar Nubbit was another artist on the Bluestown label. His records are worth hearing too. Wolf Records issued a CD, Bluestown Story Volume 1, which contains all of Alabama Watson's and Guitar Nubbit's released sides plus some unreleased material. I don't see it listed on Amazon, so perhaps it's almost as rare as the 45's. Trix was a label run by Pete Lowry, who did a lot of field recordings and who lived in my neck of the woods. Pete has since moved to Australia. edit: According to Ron Bartolucci's liner notes to the Wolf CD, Alabama Watson was a customer in Skippy White's record store, mentioned that he played and sang blues, and ended up recording. Also, according to the same liner notes, Guitar Nubbit (Alvin Hankerson) was a barber who had a shop close to Skippy White's. He used to play guitar in his shop and ended up recording. The McKinley James 45 (I have a copy somewhere in my garage) was recorded in 1966 in Macon in your home state, Jeff. Wow- thanks for the info. I had always assumed that Bluestown was a little Southern label. I knew that Trix was Pete Lowry's label. I've got some of his CDs and LPs, but I think it's cool that he also issued blues singles. I heard that, Bubba! (Which is, I think, the way we say the same thing down here.)

Last night's blues 45s: Alabama Watson - Cost Time/My Baby Left Me (Bluestown) McKinley James - Ain't Gonna Pick No More Cotton/Tuskegee Boogie (Macon) These two are pretty late in the day for what they are: down-home blues singles directed at a regional African-American audience. They're both from around 1960. When I found the Bluestown single in a stack of 45s some years ago, I had no idea what it was, but there was no way I wasn't going to buy a record on the Bluestown label by someone named Alabama Watson. "Cost Time" is the producer's mishearing of "Hard Times" - Watson has a pretty thick accent. Baby Tate - See What You Done Done/Late in the Evening (Trix) Roy Dunn - She Cook Cornbread for Her Husband/Tired of Living a Bachelor (Trix) John T. Samples - Daddy Double Do Love You EP (Documentary Arts) Robert Curtis Smith - I Believe We Love Each Other/Don't Drive Me Away (Arhoolie) All of these were directed, I guess, to the "collectors" market. Tate was from South Carolina, Dunn from Georgia, and Smith from the Mississippi Delta - he's one of my favorite bluesmen. The Samples EP is interesting - the only recordings of a Texas songster, very late in his life. On to Chicago: Snooky Pryor - Someone to Love Me/Judgement Day (Vee-Jay) Elmore James - Dust My Broom/Every Day I Have the Blues (Enjoy) Taildragger - My Head is Bald/So Ezee (Leric) Howlin' Wolf - Howlin' Blues/I Better Go Now (Chess)

Enjoyed reading these last few posts. This quote from Paul nails it, in my opinion. Max was building structures. To me, Max dances rather than marches, but it's a more formal dance than that of many drummers - maybe more of a gavotte than a lindy hop. (This is not a criticism.) I'm sure some of you have recordings of the 1981 National Public Radio broadcast of the World Saxophone Quartet with Roach and M'Boom. On the first tune, Hamiet Bluiett's "I Heard That," Roach accompanies the WSQ with one of the hardest, yet lightest blues shuffles I've ever heard. I'm not sure he ever played anything like that anywhere else. Even in the cultural backwater of Atlanta, I got to hear Mr. Roach on at least three occasions, but never with his quartet. Once was with the Georgia State University big band, once was with the Atlanta Symphony, and once was with M'Boom. Dizzy Gillespie was the guest soloist with M'Boom, and almost missed the gig because the car and driver from the Atlanta Jazz Festival didn't show up to pick him up at the airport. An Atlanta jazz fan who had just flown back into town saw him sitting alone in the airport and asked, "Aren't you supposed to be playing in the park right now?" and gave him a ride.