jeffcrom

The first jazz album I bought was a Milestone reissue of Bix Beiderbecke's 1924 recordings, and early in my jazz development I was listening to bootleg Charlie Parker. So, no, lo-fi doesn't bother me. Like J.A.W., I don't like overly sanitized versions of older recordings.

Cherry even made it to Atlanta a couple of times in the 1980's, for which I'm grateful.

Along those same lines, Marquis found that musicians' assessments of Bolden's music-reading ability had a lot to do with how well the interviewee himself could read music. Those who were not good music readers rated Bolden's reading ability highly, while those who were good readers themselves tended to say that Bolden couldn't read well (or at all).

I played a bunch of my new finds for the second time today. But after reading about Buddy Bolden for several days, I felt the need to connect with the earliest days of New Orleans jazz. So I spun several records I've mentioned before: Lillian Glinn - Doggin' Me Blues/Brown Skin Blues (Columbia, 1927). Lillian Glinn was a Texas blues singer, but "Doggin' Me" has Octave Gaspard on tuba. Octave (love that Creole French name) was a New Orleanian of the pre-jazz generation (born 1870) who made a few recordings in the 1920's after he moved to Dallas. Piron's New Orleans Orchestra - Mama's Gone, Goodbye/New Orleans Wiggle (Victor, 1923). One of my favorite 78s, in beautiful condition. Peter Bocage, Lorenzo Tio, and the great pianist Steve Lewis are on hand. King Oliver - Stingaree Blues/Shake It and Break It (Bluebird, 1930). Not the original pressing - a reissue from eight to twelve years later, based on the label. But another near-mint record, with trumpet solos by both Oliver and Red Allen. My recent 78 score gives me hope that someday I'll find an original issue by King Oliver's Creole Jazz Band from 1923. Fletcher Henderson - My Rose Marie (Silvertone, 1924). This has a hot solo by young Louis Armstrong. The flip is by Sam Lanin. Celestin's Original Tuxedo Orchestra - Marie Laveau/Maryland My Maryland and Hey La Ba/My Josephine (both Regal, 1947). The clarinetist on these, Alphonse Picou, played with Buddy Bolden 45 years or so earlier. Wooden Joe Nicholas - Holler Blues/Ai Ai Ai (American Music). As I've said before, this take of "Holler Blues" has not been reissued by American Music, although it has appeared on some bootleg albums. I think the reason it was replaced by another take on the reissues is that Wooden Joe turns one of the choruses into an 11-bar blues. But I love that - it makes it even more real.

Jeffery continues to argue with himself.... Okay, I finished rereading In Search of Buddy Bolden tonight. This makes at least the third time I've read it - probably the fourth. Overall, I think it's an impressive piece of work, but I did find one section that could open Marquis to criticism. Chapter Nine, "Demise as a Musician," has Marquis explaining the internal conflicts Bolden struggled with toward the end of his playing career in 1906. In contrast to most of the material in the book, he gives no sources for his seeming understanding of the mental state of a man who died 77 years before the book was published. This is the weakest part of the book, but Marquis only devotes a few paragraphs to this speculation. I found it kind of annoying, but ultimately not that important, given the strength of the rest of the book. I don't know if this is what Allen's friend was talking about, but I wanted to point out what I consider a weakness in an otherwise excellent piece of work.

Here's one reason I like 78s so much, especially if they are in excellent condition: while I was spinning "No" (usually issued as "No, Papa, No"), I had a moment during the piano solo where I thought, "Oh, that's what Zutty Singleton was doing." In all the reissues I've had of that track over the years, I can better hear what's really happening on this 78.

Inspired by the "name five" thread: The Insect Trust - Hoboken Saturday Night (Atco). Dated, but pretty interesting. Of most interest to jazzheads will be Trevor Koehler's sax playing and Elvin Jones' appearance on two cuts (although the mix makes him sound like he's in the next room). Later: I hadn't played this one in awhile; this time I enjoyed it more and more as it progressed.

I aims to please. The Shoes of the Fisherman’s Wife are Some Jive-Ass Slippers (Charles Mingus) Diamonds on the Souls of Her Shoes (Paul Simon) Walkin’ Shoes (Gerry Mulligan) Shoe Shiner’s Drag (Jelly Roll Morton) Hang Up My Rock and Roll Shoes (Chuck Willis) Next up: CEILING

You've got it. And I originally forgot to include in my post that prices include shipping in the U.S. - now corrected.

All gone - thanks.

Theses were well-made discs, so the basic sound is pretty good. The "If I Had You" side has had some rough treatment, though, so it doesn't sound as good. And yes, it was a good day. I'm about to go spin some of these again.

Part two of yesterday's haul: Sara Martin, Piano Accomp. by Clarence Williams - Michigan Water Blues/Keeps on A-Rainin' (Red label Okeh) Sara Martin - Blue Gum Blues/Slow Down Sweet Papa Mama's Catching Up With You (Red label Okeh). The pianist is not credited on the label, and Rust isn't sure who it is, but suggests Porter Grainger. It's certainly someone better than Clarence Williams. Clara Smith and Her Jazz Trio - My Doggone Lazy Man/I Don't Love Nobody (So I Don't Have No Blues) (Columbia "flags" label). The trio consists of guitar, harmonica, and kazoo on one side; mandolin replaces harmonica on the other. Clara Smith, Fletcher Henderson at the Piano - Don't Never Tell Nobody/Waitin' For the Evenin' Mail (Columbia "flags" label). Fletcher has been criticized for his blues playing, but the piano part on "Waitin' for the Evenin' Mail" is haunting. Butterbeans and Susie (described as "Contralto-Baritone Duet With Piano Accomp. by Clarence Williams) - I Can't Use You/A Married Man's a Fool (Red label Okeh). This one's a hoot. I would have loved to seen Butterbeans and Susie perform. Charlie Shavers Quintet - If I Had You/Musicmania (Vogue Picture Record) Vogue Picture Records were made in Detroit in 1946-1947, and are highly collectible, because they're so cool. A Charlie Shavers session represents the only jazz the company issued. The music's pretty good too - Buddy DeFranco is on clarinet. and my lagniappe disc: Blind Boy Fuller - Truckin' My Blues Away/Babe You Got to Do Better (Conqueror). Conqueror was Sears Department Store's label; these were sold cheaply through the Sears' catalog.

I only wanted to respond to this if I could avoid the obvious ones. How did I do? Eyes of a New York Woman (Insect Trust) New York is Full of Lonely People (Art Ensemble of Chicago) New York City (Leadbelly) New York City Blues (Duke Ellington) Fork New York (Steve Lacy) Next up: CRY

Miles Davis - Complete On the Corner Sessions (Columbia); the Jabali/Ife session. Miles always sounded good on "Ife." I have a few amazing live versions from the next few years.

I Ate Up the Apple Tree (Dave Fat Man Williams -what a great New Orleans song.) Don't Sit Under the Apple Tree (Andrews Sisters) Apple Bottom Jeans (T-Pain) Adam's Apple (Wayne Shorter) The Apple Jump (Count Basie) Dang, never used the verb form of apple once! Next up: MONEY

Tears Inside (Ornette Coleman) Tears of a Clown (Smokey!) It Tears Me Up (Percy Sledge) 96 Tears (? and the Mysterians) Drown in My Own Tears (Ray Charles) Only got one example of the verb in there. Next up: RAIN

Wild Bill Davison & Ralph Sutton - Together Again! (Storyville). The presence of Jesper Thilo on clarinet, soprano & tenor is a nice bonus; I have fond memories of hearing him in Copenhagen with five other people in the audience. He played like there were thousands of us.

Interesting comment. Until the 1980's, I wouldn't say that's true at all. Different strokes, indeed.

Can't resist replying to this, starting with two songs written by the great Alec Wilder: Blackberry Winter The Winter of My Discontent A Hazy Shade of Winter (Simon & Garfunkel) Winter Wonderland (You knew that was coming!) Winter Moon (Hoagy Carmichael) Next up: FALL. (If that seems too lame, remember that it's both a noun and a verb.)

Well, I'm so excited that I'm beside myself. I went to an antique store in an Atlanta suburb that's on my 78-hunting circuit - I hit it about once a year. I've gotten some good stuff there in the past - it's both good and bad that the owner is knowledgeable about records, because he knows what to buy when he finds it, but also knows what it's worth. Well, today he told me that he had two new boxes of 78s. The best of them were the kind that take my breath away - the kind of records that I watch go out of my price range on Ebay. I picked out about 15, negotiated for awhile (amicably), and walked out with a dozen. I paid more than the dollar or two per record I usually like to pay for 78s, but he gave me prices which were quite reasonable, considering the rarity of these records. And he threw in a Blind Boy Fuller on Conqueror for free. So far I've cleaned and listened to: Ida Cox - I've Got the Blues for Rampart Street/Chattanooga Blues (Paramount). Yes, Paramount! This and the next are my first two "real" Paramounts. (I have a couple of lame pop vocal discs.) Tommy Ladnier and Love Austin are on this. The Hokum Boys - Selling That Stuff/Beedle Um Bum (Paramount). This is Georgia Tom Dorsey, Tampa Red, and Alex Hill, I believe. Sara Martin accomp. by Sylvester Weaver - Roamin' Blues/I've Got to Go and Leave My Daddy Behind (Okeh red label) Sara Martin accomp. by Sylvester Weaver - Longing for Daddy Blues/Goodbye Blues (Okeh red label) Bessie Smith and Her Down Home Trio - Beale Street Mama/Aggravatin' Papa (Columbia). This one looks rough, but sounds pretty damn good. And two black-label Okeh Louis Armstrong with Earl Hines records: Two Deuces/Squeeze Me & Basin Street Blues/No. I run across Louis Armstrong Okehs occasionally, but they're always trashed. These - well, I wouldn't call them mint, but there are hardly any 78s that you can truly call mint. These are in beautiful condition, though, and sound fantastic. Like I said, I'm kind of beside myself.

I'm Gonna Be a Wheel Someday (Fats Domino) Spinning Wheel (Blood, Sweat & Tears) Driving Wheel (numerous blues guys) Six Wheel Chaser (Meade Lux Lewis) Jesus, Take the... No! I can't do it. Wheel Within a Wheel (Art Blakey/Bobby Watson) Next up: HAIR

How High the Moon Moon and Sand (Alec Wilder!) Moon Country (a nice Hoagy Carmichael song) Get Out and Get Under the Moon (the Boswell Sisters did a nice version) Moon Nocturne (I have Basie and Herbie Fields recordings of this) Next up: TIME

Dang! Never even heard of that one. Oops, I mean: Leeway, please return my copy of The Haunt that I loaned you. (I keep trying that, but it hasn't worked yet.) You can still get it from Bobby at his site! Thanks, Chuck! I just ordered it.

Charli Persip and Superband - In Case You Missed It (Soul Note). Persip's big band plays an interesting mix of the conventional and the unusual.

Send me your download link as soon as you have it, and I'll send Hot Ptah his discs.