jeffcrom

Paul Chambers Whittaker Chambers Alger Hiss

Don Byas - Jazz Legacy (Inner City) Paris recordings from 1953-55.

John Graas - French Horn Jazz (Trend)

Here's the entry from the Lord discography: Andy Bey & The Bey Sisters: Andy Bey (vcl,p) Geraldine Bey, Salome Bey (vcl) acc by Chet Atkins (g) + others unknown Nashville, Tenn., c. 1961 Trees RCA Victor LSP-2315 Revenge - On the sunny side of the street - Zombie jamboree [back to back] - Mood indigo - It must be so - You can't be mine anymore - Dreamy - Smooth sailing - A felicidade - Don't get around much anymore - Bye bye, blackbird - I have "Trees" and "You Can't Be Mine Anymore" on a single - RCA Victor 47-7832. The jazz content is zero, but the singing (all ensemble, no solos) is of high quality. The rhythm section sounds like the typical Nashville country/pop studio guys, and there is a string section.

W. C. Fields Debussy, Claude Claude Rains

Cool record - I like this one.

Heiner Stadler - Brains on Fire. More on this guy later.

Should have scrolled back further - just saw that I repeated a recent "entry." Sorry!

Henry Studebaker Edsel Ford Ford Madox Ford

That's one of the worst jokes I've ever heard. So of course I'm stealing it.

JJ Avenel is one of the most amazing bassists on the planet. I'm not sure how widely this is recognized, though.

That is a very odd record, but I like it okay. Glad it exists. I'm certainly going to give it another shot before I form an opinion, since I've always been glad that Tyrone Washington exists.

Okay, now Master of the Art by Woody Shaw. This is more like it.

Tyrone Washington - Roots - a very nice sounding reissue of his 1973 Perception album. Musically - hmmm.... Not convinced at this point.

Wow - I've got a pretty good Lacy collection, but you've got a few that I don't have. I've been trying to track down a copy of Follies for a while. The 70s are not my favorite decade for Lacy - he himself called some of his music from that era "scratchy" - but I think that two you mention, The Crust and Raps, are among his best from the period.

Charlie Yardbird-A-Roonie Blues Birdhead The Mighty Sparrow

I'm kind of a newbie to this forum, but I'd like to participate.

Ditto that. Music Copyright Consultant Group handles licensing for a lot of more obscure stuff, including some jazz players' originals: mccgllc.com

Bobby Blue Bland Redd Foxx Alcide "Yellow" Nunez

I missed this before. I'm glad to see that someone else is a Frank's Place fan. No matter how video technology changes, I'll have to keep my VCR, because I taped the whole season when it was rerun on BET a couple of years later.

I agree. Reflections and Straight Horn seem to get more attention, but Evidence is the one from those early years I'd take to a desert island.

I kind of like Reeds in Hi-Fi - ten woodwind/saxophone players and rhythm section. It's got a little of that late-50's bachelor pad corniness to it, but to me that's part of its appeal. It's also got some imaginative writing and solos by Bud Shank, Bob Cooper, and Barney Kessell, among others.

Dolphy is on alto on "So Long Eric," although he doesn't solo on this version, strangely enough.

This is an old thread, but I'm new to this forum, so.... Steve Lacy was one of my absolute heroes, and one of the musicians I most admired. I did a quick count tonight, and came up with 62 CDs, 29 vinyl albums, and about a dozen live shows under his name in my collection. This doesn't count other folks' recordings he appears on. Many of my favorites have been mentioned in this thread, but I don't think these have: Disposability (Italian Vik, 1965) I'd call this a transitional record, except some people might interpret that to mean that it's unfocused or of lesser quality. Nope - it's wonderful. Lacy and the trio (Kent Carter & Aldo Romano) are still playing Monk, Carla Bley, and Cecil Taylor (!), but there are several excellent free improvisations as well as Lacy's first recorded composition, "Barble." The Door (RCA Novus, 1988) The most varied album by Lacy's long-lived sextet. The six members form duets, trios, and quintets, coming together only for a magnificent version of Ellington's "Virgin Jungle" with guest star Sam Woodyard. 5 x Monk 5 x Lacy (Silkheart, 1995) I'd hate to have to choose a favorite from all of Lacy's solo recordings, but this might be it. The opening "Shuffle Boil" always fills me with sadness (in a good way) - Lacy brought out a melancholy aspect of Monk's bouncy tune that nobody else seems to have noticed. Steve Lacy Meets Steve Potts (Virgin/Soul Note, 1994) This one's hard to come by - a limited edition 15-minute promo CD with his longtime musical partner, recorded at the Virgin Megastore in Paris. This might be my favorite version of one of my favorite SL compositions, "Art." I love all periods of Lacy's recorded output, but his playing achieved a real depth and purity toward the end of his life. The trio he led for most of his last decade (Jean-Jacques Avenel and John Betsch) was, in my opinion, the best setting he ever had. I know that The Rent was an album of the week here, but I think I like The Holy La even more. A word about Irene Aebi: I can understand why many listeners don't dig her. Her voice and English diction are, well, odd. But I just listened to the limited edition album Sideways, which has two versions of "The Way" from 1968. Each begins with Irene singing Lacy's unusual, wide-ranging melody unaccompanied for over a minute. She's joined by Lacy on the last note, and she is perfectly on pitch. Moreover, I find her voice here to be light, clear, and pleasant. I do think that her voice became "heavier" over the years, and on later recordings I hear the telltale signs of dental work that further seems to affect her diction. But she was part of Lacy's musical world, and I have no problem accepting her contributions. I was lucky enough to hear Lacy play seven or eight times - solo, sextet, duo with Mal Waldron, trio, and the quartet with Roswell Rudd. Each time was a special experience. I only spoke to Steve Lacy briefly a couple of times, and we exchanged a couple of letters, but I miss him.

I brought back a stack of 78s from my recent trip to New Orleans. Three I keep going back to are mid-to-late 40's issues on the Jump label: one by Joe Rushton's California Ramblers and two by a trio of Eddie Miller, George Van Eps, and pianist Stan Wrightsman. Rushton's bass sax sounds great - something like Adrian Rollini, maybe fierier but not quite as thoughtful. The trio sides are wonderful. I've always liked Eddie Miller, and on three of the sides Van Eps plays unaccompanied solos that are jaw-dropping to a non-guitarist like me.