jeffcrom

I have a stack of Johnny Adams singles from the "middle period" on the SSS International, Hep' Me, and Paid labels. He was doing a lot of country-tinged material at the time. Some of the songs aren't real great, but damn - that voice. For what it's worth, my favorites are "Reconsider Me," "I Won't Cry," "South Side of Soul Street," and the unrepentant "Hell Yes I Cheated." I love the chapter on Adams in Jeff Hannusch's book on New Orleans R & B, I Hear You Knockin'. The man paid some dues.

I was poking around to see what there was on the board about King Oliver when I came across this thread, which seems to have died on the vine. Yes, I'm familiar with the work of all these "Kids." My understanding of the nickname is simpler - it was given to musicians who started gigging at a young age. Here's a rundown on each Kid: Kid Thomas Valentine - His style never changed from his first recording in 1951 until his death in 1987 - it was crude and simple; straight lead, rough tone, sometimes violent vibrato. Valentine's playing is definitely an acquired taste, which I embraced when I realized how similar some of Lester Bowie's playing was. Kid Thomas played in the little dance halls of New Orleans for years and never thought of himself as a "jazz" musician. Listen to The Dance Hall Years (American Music CD48) - not a jazz standard to be found; the Kid plays "On the Bayou," "Blueberry Hill," and "Shake, Rattle and Roll!" His two Riverside albums are very good. Kid Avery Howard - The most inconsistent of the great New Orleans lead trumpet players. His playing may have been uninspired at times (he liked his cocktails), but at its best it was strong and somewhat Armstrong-inspired. He was in bad shape for much of the fifties, but got his act more together in the early sixties - try some of his recordings from that period. I've always thought that Kid Howard at the San Jacinto Hall (GHB CD 23) contains some of the most inspired collective improvisation recorded in New Orleans. Kid Shots Madison - He recorded as second trumpet with Oscar Celestin's Tuxedo Orchestra in 1925 and with Bunk Johnson's Brass Band in 1945, but his only real exposure on records is the 1944 American Music session with George Lewis issued on George Lewis With Kid Shots (American Music CD 2). These sides show his to be a modest, competent lead trumpeter who only occasionally catches fire ("Sheik of Araby" & "Dumaine Street Drag" on the CD, maybe) - not spectacular, but very good. Kid Rena - When he was young, he was said to be good enough to rival Louis Armstrong or the legendary, unrecorded Buddy Petit. He only recorded late in his short life. The recordings, for the Delta label, are considered the first recordings of the so-called New Orleans Revival. Rena's playing on them has been panned by many critics, but I like it for what it is - a simple, straight New Orleans lead. There is certainly nothing there (Prelude to the Revival Vol. II - American Music CD 41) that would justify the claims of his youthful prowess. Kid Shiek Colar - The only one of these guys I heard in person, near the end of his career. His style was similar to Kid Howard's, but he was more consistent. I think he still sounds pretty good in his seventies on the 1982 album The Sheik of Araby (504 Records). I think it's been reissued on CD, but it's probably going to be hard to find - you might try Hopes Hall New Orleans 1963 (American Music CD 256) to hear Kid Sheik at his best. One thing to remember when you're listening to New Orleans trumpeters is the traditional role of the trumpet in the ensemble. The trumpet played the lead and tended not to stray too far from the melody. Louis Armstrong's Hot Five recordings are not conventional New Orleans-style recordings in this respect. If you listen to any of the "Kids" expecting fireworks, you might be disappointed. But no, I don't think the theory that "Kid" implies a lesser talent really holds up. I like all the Kids.

I have the first album, and while I would never argue that it's either guy's best work, I like it for what it is: two masters in good form, creating a relaxed set of standards rather than a masterpiece.

Mothra Butterfly McQueen Countess Margaret Queenie Johnson

Bumble Bee Slim Cricket Smith Stephen "Beetle" Henderson

Looking forward to fasstrack's sets on the 29th.

Don't have the Mosaic set, but bought the RCA/Bluebird Complete set on LP when it came out in 1976. I think that Hampton's Victor recordings include some of the most amazing tracks from the era, as well as some of the most forgettable. But Dr. Jekyll is so good that I'll put up with Mr. Hyde.

Mister Frank Edwards* Blind Willie McTell William Tell *In Atlanta, this veteran bluesman was never referred to without the "Mister" in front of his name. He had a special stool at the bar at Blind Willie's, the great Atlanta blues club. Until his death a couple of years ago, he was there every night, dressed to the nines.

I had a great evening with 45s: Freddie Roach - You've Got Your Troubles/One Track Mind (Prestige) Erik Kloss - Close Your Eyes/That's the Way it Is (Prestige) Lucky Thompson - Happy Days Are Here Again/Cry Me a River (Prestige) Jimmy McGriff - Hello, Betty/Close Your Eyes (Sue) Sonny Stitt/Jack McDuff - "Nother Fu'ther (Prestige) I love the way Stitt goes out on a very long I/VI/II/V tag, even on a twelve-bar blues. Sonny Stitt - Funny/The Very Thought of You (Met) Sonny Stitt - Little Green Apples/Beale Street Blues (Solid State) Okay, not the most rewarding Stitt.... Sonny Stitt - Private Number/Head or Tails (Enterprise) This is more like it, for soul/funk Stitt. Eddie Chamblee - Strollin' Sax/Stardust (Mercury) Nathan Davis - Slave March/To Ursula With Love (Segue) This one's pretty cool. John Handy - Lay Lady Lay/Spinning Wheel (Columbia) I really like the second side -pretty wild. Erroll Garner - Easy to Love/Lullaby of Birdland (Columbia) Harry James - The Great Lie/Three for the Show (Columbia) Nice Willie Smith alto on this one. Bennie Green - Sermonette/Jim Dog (Vee Jay) Cannonball Adderley - Country Preacher/Hummin' (Capitol) This is a different "Hummin'" than is on the album - Zawinul on acoustic piano. Big fun, three minutes at time.

Thanks - I'll check it out. Kenton's someone I dismissed for years, but really started exploring a couple of years ago. Yeah, with music of any complexity, listening to it over time is an ascending spiral. You're covering the same territory, but grasping/understanding/appreciating more and more of it with each listen. And the higher you go, the more you can see more how it fits in with other music.

Dave Schildkraut (Thanks, Allen Lowe). I had heard him on Miles Davis' "Solar" session, of course, but for some reason had not paid him much attention. He impressed me more on Eddie Bert's Like Cool. But based on Allen's comments, I picked up George Handy's Handyland USA, on which Schildkraut is just incredible.

You're in for a treat with both of these. The Giuffre might be his "desert island" set.

Happy Birthday from the new guy.

Adolphe Sax Adolf Busch Sam Bush

I've only been around here for a few months, so I would bet that this has been done before, but... Willie The Lion Smith Cat Anderson Gato Barbieri

Captain Ahab Captain John Handy Kid Thomas Valentine

Homestar Runner Brenda Starr Jimmy Sturr

Mommy, I'm scared!

Billy Ocean Dinah Shore Sandy Williams

Sonny Rollins - The Cutting Edge - live at Montreux, 1974. Saxophone Colossus it ain't, but it's not bad - I'm enjoying it.

Herb Jeffries Geoffrey Chaucer Eddie Miller Um... too much of a stretch?

George Russell George Russell* Russell George *the other one

Something that hasn't been mentioned in this thread since 2005 is what a great clarinet player EC was. At the risk of sounding sacrilegious, I think I like his clarinet playing better than his baritone.

Prince Prince Robinson Roland Prince

Ramsey Lewis Mel Lewis Mel Tillis