jeffcrom

I have those on cassette (!) - burned to CDr, they don't sound bad at all. I don't know if this will make sense, but I like those albums better since hearing your Charles Tyler album. A better way to say it might be that the Nessa album changed the way I hear Charles Tyler. Now playing: Erroll Garner - Campus Concert (MGM mono). I don't often have the urge to listen to Erroll, and the four or five Garner albums I have are plenty for me. But it's nice to have them when I'm in the mood for some Garner.

Coleman Hawkins - The High and Mighty Hawk (Felsted stereo). Put on the turntable before I saw that The Magnificent Goldberg was listening to the new box set containing this album. On this spin I really noticed how locked in and intense the rhythm team of Ray Brown and Mickey Sheen is.

Great post. It made me think of my favorite city, New Orleans. The music scene there is sometimes distressingly insular - the musicians and fans there sometimes seem unaware that there's a great big musical world out there; to them New Orleans is the whole world. But there are positive aspects to that: there are local record companies catering to local tastes. You can still have a local hit there. (I remember visiting a decade or so ago when Snooks Eaglin's "Josephine" seemed to be playing every time I turned the radio on.) And the music, whatever the "style" is, has kept a flavor not to be found anywhere else. One of my Atlanta musician friends told me of the time he was driving into New Orleans, flipping between stations on the radio dial. He heard punk, death metal, jazz, and hip hop, and could tell that every band was from New Orleans. Yeah, the homogenization of the world continues apace. But the point I was trying to make in my sarcastic post above is that there will always be musicians, consumers, and record producers (or whatever that role will be called in the future) who don't buy into the monolithic direction of consumption. None of them are going to get rich, but some will be compelled to step outside the mainstream anyway.

Hamiet Bluiett - Endangered Species (India Navigation)

The Gunter Hampel post that was the impetus for this thread seemed like another "death of jazz" lament. But I could be totally off base, since it was a little hard to follow. This is certainly true, and continues to make my jaw drop. The first call tenor player in Atlanta once told me that he had never heard Sidney Bechet. When I was able to speak, I suggested that he might find Bechet worth checking out.

Tony Scott - South Pacific Jazz (ABC/Paramount stereo, although several of the tracks are in mono). A nice little album - not great, which is I guess why I don't spin it that often.

I loved reading this. It makes me feel so much better about some of the odd/stupid things I have done. I'll just say that I'm grateful to Steve Miller for providing a steady income to Paul Pena, the composer of "Jet Airliner," for the rest of his life. Now everybody stop what you're doing and go watch Genghis Blues, an amazing documentary about Paul Pena, journey to Tuva to enter the national throatsinging competition.

Woody Shaw - Rosewood (Columbia)

Yeah, jazz is dead, and has been since ___________________________ (fill in the blank).* It's dead, and there's no money in it, but those who want to play it keep finding a way to play it, those who want to hear it keep finding a way to hear it, and those who love it enough keep finding a way to record and distribute it. And personally, I usually prefer to hear contemporary musicians play their own compositions. If that's what they're into. * A. The big bands died out. B. Bebop. C. Rock and roll. D. Free jazz. E. Fusion. F. Wynton. G. The internet. H. All of the above.

Reverend Edmond Blair - I Don't Need No Doctor (Nashboro). Couldn't find a picture online. I hadn't listened to a sermon record for awhile; this 1967 sermon was a stunningly timed performance. While searching for a picture, I found a Jet magazine column with the information that Rev. Blair was found in his car, dead from a gunshot wound to the head, on the southwest side of Chicago in 1980.

Leroy Jones and His Hurricane Marching Brass Band of New Orleans (LoAn). Had the urge to spin this one after the last brass band LP. This is a rare album, and a pretty amazing musical document. The band is basically Danny Barker's Fairview Baptist Church Brass Band (which started the New Orleans brass band revival several years before the Dirty Dozen) after Danny stepped back and Leroy Jones took over the leadership. This is the (1975) recording debut of Leroy Jones, Gregg Stafford, Darryl Adams, and Tuba Fats, among others. Most of the tunes are traditional, but the beat is funkier, the ensemble is more riff-oriented, and it's just raw and full of youthful energy. A wonderful thing.

The All-Star Marching Band - New Orleans Parade (Dixieland Jubilee/GNP Crescendo). The unpromising band name was given to 1978 pick-up recording band, but it's a pretty glorious ensemble. I don't know know how many of the names would be familiar to most people here, but they were, young or old, New Orleans brass band veterans, and they play fabulously together.

Masahiko Togashi - Guild for Human Music (Denon)

Jeez. Not that it matter's - Jelly Roll Morton's house is in that block.

Abdullah Ibrahim - Soweto (Chiaroscuro)

Jimmy Giuffre - 7 Pieces (Verve mono)

Cootie Williams/Rex Stewart - The Big Challenge (Jazztone)

Coincidentally, after Clunky's post: Buck Clayton Jam Session: The Huckle-Buck and Robbins' Nest (Columbia pre-eye)

Bunky Green - Playin' For Keeps (Cadet mono)

Ah, sorry. A visceral reaction there that could have been tempered somewhat. Have been listening to Johnny Dodds all morning because of this BFT. (Not that I need a tremendous amount of excuse to listen to Dodds.) And I added a CD with 13 to my wishlist. I understand. And since you hadn't read the thread yet, you weren't familiar with Dan's handy little new acronym. And now, Alex, you'll be able to follow one of my favorite recipes, in which Kermit Ruffins explains the timing not in minutes, but by number of beers and which track of Louis' album is playing.

Thanks for listening and commenting. I don't know what to say about your comments on track one except that I wish I could unread them. I knew you wouldn't like everything, but some of your other comments on stuff you didn't were pretty entertaining.

No, that's the original issue. It's from 1964, with Charles McPherson, Tommy Flanagan, Steve Swallow and Ron Carter alternating, and Bobby Thomas. It's nice. I believe Iberian pirates have gotten hold of it now. Again. I almost said last time that Grant Green's recorded sound is terrible on this album - thin and grating. Not sure why - maybe Ray Fowler just didn't know how to capture it like Van Gelder did.

I've had the first 15 tracks in the New Sound Planet Bird Box series for years. Kind of curious about the others.

The Many Faces of Art Farmer (Scepter mono)

Yes to the Concords.