jeffcrom

Stan Getz - West Coast Jazz (Norgran)

Anthony Ortega - A Man and His Horns (Herald mono - with an RVG stamp I had never noticed before) Dexter Gordon - Long Tall Dexter: The Savoy Sessions; disc one

The year and personnel are wrong. According to Chris Sheridan's Brilliant Corners bio-discography, these are from Newport, July 2, 1966. Monk, Rouse, Larry Gales, and Ben Riley.

The Edgewood Sax Quartet had our second performance tonight - a full-length concert in a wonderful performance space, a stone-and-wood church where I've enjoyed performances by Evan Parker, Sam Rivers, David Ware, and the Peter Brotzmann Tentet. I probably should have mentioned it here beforehand, but I was pretty nervous about it, considering how sloppy our first show was. This one was, I think, everything I thought this group could be. It was recorded by one of Atlanta's best recording engineers, so I'll see if it really as good as I thought. Maybe some it is even releasable.

Happy!

Max Roach/Archie Shepp - Force (Uniteledis/BASE); disc one. Musically, it's as good as everyone has said. Politically, a piece dedicated to Mao is maybe kinda naive even for 1976.

PM sent on: Frank Foster/George Wallington- open, mint. NOT A CDR $10

Philly Joe Jones - P.J.'s Beat (British Atlantic). I love this one. Bill Barron sounds great, as does the almost unknown Michael Downs on cornet.

Trad jazz from my Scandinavian trip. First up - a very nice 1953 Storyville EP by Ken Colyer, my favorite European trad musician. Wonderful condition; less than three bucks. Then: Chris Barber - Travelling (sic) (Tip). I was given this and a couple of other records by some Danish friends. It turns out to be a collection of early-to-mid-60s cuts, including seven tracks with the great Edmond Hall.

No - a little record shop in Malmö, where I've found a few gems on both my visits to Sweden. But thanks a lot, Clifford, for planting the seed on discontent in my tired soul. I researched record stores in Stockholm before my trip, and didn't come across AndraJazz. I just looked it up - it was within walking distance of my hotel. Sigh.... But I can't complain - I found a copy of Force by Shepp and Roach for a very good price in another store. That's been on my list for a long time, but I haven't been willing to pay the prices folks were asking.

Back home, spinning one of my Swedish finds before crashing: Frank Wess - North South East Wess (Savoy mono, DG, RVG stamp, all that stuff). Not bad for 60 krona (8 bucks and change).

Fred is quite the little bitch with his snotty remarks about great players... Did we read the same interview?

Booty and Natalie Wood

I only know Osaka. Are there others? I don't know about Osaka, but there is another concert from Tokyo and one from Kyoto. They were recently released on CD by Domino is this package Same here - I've got the second Tokyo concert and the Kyoto show; didn't know about Osaka.

Happy Birthday, Tom!

I love that record, along with the other dates from that Japanese tour that have circulated over the years.

I already have all this stuff, but Mike and anyone else who doesn't have these recordings, don't hesitate! "Cornet Chop Suey," "Potato Head Blues," "West End Blues," "Weather Bird," "I Gotta Right to Sing the Blues," the alternate take of "That's My Home" - this is some of the most magnificent music ever recorded. If you don't have it, get it.

Wish I could have joined you, but Viking country is pretty cool in its own way. The second lines suck, though. We'll make it happen one of these days.

Norman Granz Jam Sessions (Verve); disc two, with Wardell Gray, Getz, Benny Carter, DeFranco, etc.

The Gustav Vigeland statues in Frogner Park in Oslo. Got a lump in my throat several times.

I'm on the overnight boat to Oslo, after spending three days in Copenhagen. Although my visit fell right in the middle of the Copenhagen Jazz Festival, that was just a coincidence - this was just the beginning of a Scandinavian vacation my wife and I had planned. And with our short time in Copenhagen, obligations with friends, schedule conflicts, and a slight bout of illness, I didn't hear very much music. But I did hear the Saxopaths, a lightweight-but-fun saxophone quartet I discovered the last time I was in Copenhagen. And we second-lined with the Orion Brass Band, a New Orleans-style brass band that led a second-line parade each day. I hope it won't be insulting to my European friends to say that my wife and I were highly amused by the fact that the crowd walked quietly and politely behind the band - nobody danced, except us. And we both knew when to yell during the "Holler Blues." I've been the squarest person at several New Orleans parades; it was nice to be the hippest, for a change.

Back to the original article, which I downloaded onto my Kindle on just read on the plane a couple of days ago: I thought that Shaw had a point, but it's a very obvious one - and I think that just about everyone who would read the article would already be aware of the problem. And he kind off pissed me off by dismissing Bunk Johnson in a single sentence: "...pulled from obscurity, fitted with new dentures and resuscitated to produce some pretty forgettable music in the forties...." If that's not actually "Bixing," it's at least an extremely oversimplified view of Johnson's output, which ranges from, yes, forgettable at times to pretty wonderful.

I think that qualifies!

Robert Pete Williams - Louisiana Blues (Takoma mono). One of the most interesting, creative, and individual bluesmen ever.