jeffcrom

As of a couple of years ago, I could hear no concessions to age - still fabulous.

One mention, almost in passing: "To many expert ears, compressed music files produce a crackly, tinnier and thinner sound than music on CDs and certainly on vinyl."

And depressing.

I just ended my six-month experiment with Facebook - deactivated my account yesterday. I was concerned about privacy issues with some of the changes and "partnership agreements" Facebook has made recently, but I also just wasn't enjoying it. My experience was somewhat like that of Jazzmoose - most of the folks from the distant past have nothing in common with me any more. And when I became "friends" with casual acquaintances, I often found out things about them that I wish I hadn't.

I, for one, appreciate that. I had never heard "Hersal Blues," while "Suitcase" gets reissued over and over again.

Ma Rainey - Mother of the Blues (JSP) Disc 3 - Right now a December, 1925 session with Fletcher Henderson and some of his guys. Joe Smith is a poet, and Charlie Green is a hero.

Jazz at the Philharmonic: The Trumpet Battle 1952 (Verve) I wanted to hear some Charlie Shavers. (Roy Eldridge is the other trumpet battler.) Barney Kessel sounds great; Lester Young is really nice, and Benny Carter treats the whole thing as a joke. It's a lot of fun.

I don't know whether this falls under the "guilty pleasure" or "bad/mediocre music" category, but I have about 30 or so 78s from the 1920s that aren't jazz or blues, but hot dance music. They're corny compared to real jazz, but they must have been a blast to dance to, and I'm often struck with with the little details: a driving banjo player in the rhythm section, a nice instrumental obligato to a corny vocal, a solo by an unexpected instrument (bass sax or bassoon, for example). Here were today's guilty pleasures: Newport Society Orchestra: A Little Bungalow/Imperial Dance Orchestra: Who (Regal, 1925) Whenever I see one of these pseudonymous dance band records from the twenties for a dollar or so, I always pick it up, in case it turns out to be Fletcher Henderson or some studio band with a Miff Mole or Benny Goodman solo. No such luck on this one; the Imperial seems to be a Ben Selvin group, but there's no jazz on either side. Nice, well-played performances of early Irving Berlin (Bungalow) and Jerome Kern (Who) songs, though. Bennie Krueger's Orchestra: Mr. Gallagher and Mr. Shean/Boardwalk Blues (Brunswick, 1922) Nice dance band led by a saxophonist who recorded with the Original Dixieland Jazz Band. An early endorsement deal: the label reads "Buescher Instruments Used." Bennie Krueger's Orchestra: You Know You Belong to Somebody Else/Wet Yo' Thumbs (Brunswick, 1923) Columbia Saxophone Sextette: The Crocodile/Who Wants a Baby (Columbia, 1920) Good sax playing, and somebody doubles on oboe. Ed Loyd and His Orchestra: Pagan Love Song/I Get the Blues When It Rains (Okeh, 1929) This is one I've almost thrown out several times, because it's so corny. But then I remember why I keep it: the vocal on the second side is accompanied by an excellent, bluesy violin obligato. It's not quite good enough to be Venuti, I don't think, but it's good. Ted Lewis and His Band: Some of These Days/Bugle Call Rag (Columbia, 1926) Everyone here is better than the leader, especially New Orleans trombonist George Brunies. Sophie Tucker takes the vocal on "Some of These Days." And I ended with one from the next decade: Chick Bullock and His Levee Loungers: Did an Angel Kiss You/Moonlight on the Sunset Trail (Perfect, 1938) This is an example of why 78s fascinate me. This is an okay singer doing two bad songs with an anonymous band: the Rust discography can't identify any of the band. But there's a great trumpet obligato and a very nice clarinet solo on "Angel." Artie Shaw recorded with Bullock a couple of months before, but I don't think it's him. Nice playing, though. And yes, I know I'm weird.

Stone Phillips Rock Hudson Larry Flint Flynt

Well, everyone's ears/perceptions are different, but I've listened to Pathways twice now, and I don't hear it as "safe" or "easy." It's certainly more conservative than the music Holland played 35-40 years ago, but I find it exciting and challenging. People change, and their music changes with them. Many musicians who were playing avant-garde music in the 1960s and 70s are playing more conservative music now. And the ones who aren't - well, it ain't avant-garde any more. It can be good music or lame music either way. To me, good music is music which is alive and honest. Hearing these qualities or not hearing them is obviously subjective. To me, Pathways fits the bill.

I just discovered that Fiddlin' John Carson is buried just two miles from my house, so I visited his grave yesterday. Inspired by my visit, I played a bunch of old-time country today - mostly Georgia boys. I've mentioned some of these here before. Fiddlin' John Carson - Fire in the Mountain/Peter Went Fishing (Okeh, 1926) Fiddlin' John Carson - It's a Shame to Whip Your Wife on Sunday/Cotton Eyed Joe (Okeh, 1927) Bill Cox - Browns Ferry Blues/Long Chain Charlie Blues (Conqueror, 1934) Riley Puckett - Ida Red/Sally Goodwin (Columbia, 1926) Smith's Sacred Singers - Shouting on the Hills/The Eastern Gate (Columbia, 1926) Darby and Tarlton - Columbus Stockade Blues/Birmingham Jail (Columbia, 1927) Darby and Tarlton - The Rainbow Division/Country Girl Valley (Columbia, 1928)

I finally managed to download that last night. I had tried half a dozen times with no luck. Then, last night, I tried using a different email address, and it worked. ..?.. Anyway, it's playing right now, and it's hot!

Dave Tarras Plays Again (Colonial) The great klezmer clarinetist only plays on half of the tracks here, even though there is a great, somber cover photo of him holding his Albert system clarinet.

Thanks - I should be okay doing uploads for folks, but will not hesitate to bug you with any stupid questions I come up with.

Thanks for posting this. It's Mobley time!

Well, I've enjoyed the BFTs since I've been here, and my impending forced retirement would give me plenty of time to manage them. I'll be glad to do it, unless someone with more seniority wants to.

There continue to be revelations on every disc - some amazing stuff. I did find one of the above, though. Disc 3, track 12 is not "Red Man Blues" by Piron's New Orleans Orchestra. It's "Bull Frog Blues" by Charles Pierce and His Orchestra w/ Frank Teschemacher and Muggsy Spanier, recorded in February, 1928. It's a great track, though.

Cool!

Roebuck Staples Mavis Staples Bob Dylan

Great record! "Three Little Feelings" is one of my favorite recordings.

Dave Tarras/Abe Ellstein - Jewish Melodies (Period) One of the many albums the great Dave Tarras made for cheap labels in the 1950s.

I have a 1975 single by Latimore on the Glades label called "There's a Red-Neck in the Soul Band." It's so bad that it breaks through the wall of badness; it's pretty good.

Davy the Fat Boy Jolly Coppers Short People

Basin Street Six (10" EmArcy) A little corny, but this 1951 album has great playing by George Girard and Pete Fountain.

An eclectic half hour among the shellac - mostly new-ish finds: Southern Negro Quartette - Anticipatin' Blues/I'm Wild About Moonshine (Columbia, 1921) Vaudeville stuff; not as good as I had hoped. Dave Brubeck Quartet - A Foggy Day/Lyons Busy (Fantasy, 1951) Somehow the sound of Paul Desmond's horn coming out of my 78 rig is disorienting. Woody Herman and the New Third Herd - Perdido/Baby Clementine (Mars, 1952) A nice Arno Marsh tenor solo on "Perdido." Vin Bruce - Fille de la Ville/Dans la Louisianne (Columbia, 1952) Nice cajun/country tunes.