MomsMobley

Distinction noted-- and Larry, I know J.B. well, who the else on this board besides you and I even mention him? (A few, I know: Chuck, John L, others.) My intended point (which was in my head, not on screen) is that Melle Mel at his peak was better poet than J.B. though there surely might be tons of unpublished/unknown verse there. Conversely, while J.B. was estimable prose writer, Melle Mel hasn't done much writing outside of music. As for 'cat fight,' besides the knee jerk memorials noting her passing, I stand by my prediction that it's highly unlikely ANY Sugar Hill artists will pay tribute to Syliva Robinson's executive career. And while musicians can be a notoriously ungrateful lot, when NOBODY you worked with has a good word to say... Irving Rosenthal and Ross Feld next!

It had to be said-- I only wish I had more time to report and detail Slyia Robinson's frauds... If anyone cares, follow the next few days to a week, and see if even ONE former Sugar Hill artist will speak in her favor. Note too that Sugar Hill was formed as step away her previous label, which was awash in lawsuits. Meanwhile, if all but a small handful of Sugar Hill act members croaked, you'd never hear about it except maybe on some enthusiast's blog. About the "best" face I've heard put on Sugar Hill is they were in it for exploitation straight up, maybe score a quick hit and run, but when "rap" proved itself a vital/viable genre (which, as a live music, it was well before Sylvia glommed on, tho' it's overlap with funk, disc etc party music was great)... and Melle Mel in particular revealed himself a superior writer (much better than J.B. Figi, tho' Mel never wrote liner notes) well... you just got contracted, lied, shyster lawyered and bullshit accounted yourself into a LEGACY of well-earned scorn. I'll eat my Budd Johnson panda bear shirt if the encomiums start rolling in. http://www.youtube.com/watch?v=2ChjLMbXVrU

eff her-- effin' THIEF as bad or worse than ** ANY ** record exec; Don Robey might be Alfred Lion in comparison; i've not looked but i'll be surprised if you find even ONE of her acts who has a good word to say. whatever grief she suffered as a woman is more than trumped by her using her skin color to jack dudes who-- while they could have known better-- didn't think a black woman could be that shitty. that she has an accidental "artistic" legacy at all is a sham and insult to the creativity of those who actually did it for peanuts. some sentimental sap will say well it's like Half-Pint Jaxon cutting sides for a flat fee & exposure but in FACT it wasn't like that all-- Sugar Hill legacy is one of LIES LIES LIES LIES LIES LIES LIES.

FACT: ** I ** have the exact same panda shirt as Budd! FACT: All the Budd & Earl lps are near-essential; everyone should have at least two. FACT: Budd Johnson's son Budd Johnson Jr was doo-wop singer, percussionist, and a career criminal, did hard time for armed robbery. FACT: Budd Johnson's grandson-- Budd Jr's son-- Albert Johnson, better known as Prodigy was one of the greatest rappers ever and is still among the most charismatic (he lost some of his virtuoso technique to age, illness-- esp. sickle cell anemia-- misdirection). See-- http://www.youtube.com/watch?v=cP0wsET8__Y QUIZ: One free beer to any Organaut who recognizes the piano loop above without looking it up; this was a long-time mystery btw but it ** is ** by canonical jazz musician. (Thus it's not by always dull Jason Moran, the over-acclaimed woeful sap.) BONUS 1: Prodigy's mother was Frances Collins, of later Crystals interest, no shit-- http://www.youtube.com/watch?v=ESvs4LDQ6cs REM DOESN'T CARE ABOUT BLACK PEOPLE BONUS 2: O.V. Wright did not die in vain. http://www.youtube.com/watch?v=G9tMscnqE90 I'll second that. Great record! (I have that Black & Blue vinyl!

Can't argue too much, Quincy. I have DP 6 and while it nearly falls apart a couple times, it DOES kick in hard. I'm also a fan of-- hold on, lemme see what I have at hand-- "Go To Nassau," DP 13, "Without A Net" (** only ** record I have or ever will have with a Marsalis in the house, sorry Willie), "Dozin' At The Knick," DP 9, "Nightfall of Diamonds." for the '78 cut off folks, DP 18 fuckin' kills. Eh...Maybe it's because I didn't reproduce but I hate "I Will Take You Home" even more than Brent's woman-hating song. It sounded like it belonged to the lovechild of later day Doobie Brothers & Christopher Cross. It was a major buzzkill back in the day, more so than "Day Job" since that one contained some truth. It probably won't change the mind of skeptics as Jerry's voice is hoarse as hell, but Dick's Picks 6 from '83 isn't as bad as the reviews. It falls victim to "they should have picked the show before (or after)" where "St. Stephen" was performed. Although a whole different kettle of band I usually pick the '80 acoustic release Reckoning as the one to try for those who say the hate the band. I can't imagine someone not liking it, though of course some people will anyway.

Jazzbo I'll give you a fair price for any Road Trips with bonus disc (where one was offered). What do you do for later Jerry, stick with JGB? Gotta have "Althea," "Alabama Getaway," "Black Muddy River," "So Many Roads" ... There's some decent later Weir/Barlow too and the right pair of creamy buttocks in your face even Brent "Dear Mr. Fantasy" starts to 'work.' I do agree '72 >>>>> '71 And speaking of '78, this is a pretty good "punk" Jerry presentation-- http://www.youtube.com/watch?v=PIM3Jf0qGZ0

A few points: * don't forget 1971 http://www.youtube.com/watch?v=X_3nYixwNn0 * I used to be somewhat down on Brent Mydland but watch the various videos '87-'90 and you can clearly see/hear what a fine musician he (usually) was. * the idea that late Jerry's singing improved even as his playing/general health declined merits serious consideration. http://www.youtube.com/watch?v=AX9Vhv4akxc He could, of course, play exceedingly well on those occasions the head, hands, heart agreed. * two official sets for '80s skeptics: "Terrapin Station Live" and "Formerly The Warlocks" box

Believe me, if you were in Georgia or among justice/anti-capital punishment folks there's no OTHER way to think about it. It shows you how blinkered they'd become-- Bertis at least is full-time Athens resident; Berry and Mills live outside town, Stipe still drops in, etc. The less I think about Peter Buck anything the better. So meanwhile LOTS of people if not everyone are very agitated yesterday about Troy Davis and of all possible days to make this announcement they do so THEN? Shows you what frauds-- or, if you want to be generous-- how careless they can be. But I'm sure if a CELEBRITY death was imminent, starfu**ker Stipe would have been suitably humble, quiet or contrite. Ghost-- I know you got Big Ears and while I disagree with you about even the IRS era ("Life's Rich Pageant" hype + vacuity soured me on these clowns forever), did you follow them backwards to, say, Gene Clark? His catalog, with the Byrds but especially solo, is tremendous, with almost no low-lights, only a cpl period missteps. He might also be the greatest folk/rock songwriter of the era besides Hunter/Garcia.

Porcy, and do you know what else is going on in Georgia today? REM hq and their lawyer/manager/offices are located in downtown Athens, Ga. Why make this utterly non-event of an announcement TODAY? Not a week, month, fortnight from now, etc? REM DOESN'T CARE ABOUT BLACK PEOPLE Out of arrogance or ignorance, they chose to release this information when the whole world is watching Georgia re: the execution of Troy Davis... ... which, regardless of one's feelings about capital punishment, seems to have enough questions about it that waiting longer won't hurt anyone. Yet REM (a band I never had any use for, at best they prove a band greater than sum of parts, none of which are interesting alone) pops their head out of the shadows now-- Like this was the question on ** anyone's ** mind. Talk about a cocoon!! Especially for a band which has enjoyed a nominally 'progressive' or at least locally/environmentally (in broad sense of the term) reputation. REM DOESN'T CARE ABOUT BLACK PEOPLE

you damn well know the answer-- * Ellis is a never was whose only claim besides being a VERY bad (genetic) seed is alleged '50s friendship with Ornette * Herbie hasn't done shit even half worthwhile in what, 30 years? * Moran is well-groomed garbage, devoid of genuine creativity and not even an appealing moire of other folks moves * whatever spark Rosnes or Perez might have once had is long extinguished to mere careering Hampton Hawes couldn't win, Fess Manetta couldn't win, Muhal-- please!!! more genuine jazz blues & jackie-ing than all these douchemeat judges combined ---> moon jazz 1 moon jazz 2 All of which means, what, exactly? That the young man has good musical manners & treats his band to sandwiches & soft drinks? Admirable & valuable qualities to be sure, but I don't see what it has to do specifically with jazz itself. I'm probably not the first to ask this, but could Monk have won his own competition?

yo Canarsie!!-- I grew up Avenue L next door to the theater-- if dude is really from Canarsie look out, these fuckers will argue about ** EVERYTHING **-- and make no mistake, it ** is ** partly personal but there's a large aspect of sport of it. Germans, the Irish, Southerners and most Jews who who remember Don Rickles on Dean Martin roasts understand this; Limeys and po' faced Midwesterners usually don't. Dutch and Beglians are largely aghast. Italians are still laughing. hey fassrack, you ever get into adult movies like fellow Canarsie guitarist Warren Cuccurrullo? you ever meet Jerry Butler? you should have done the soundtrack to "Raw Talent!" only the strong survive (Clapton only lives from vampirism, he has NO SOUL or essence of his own and the REAL Don Williams is Esquirita x Dick Haymes by comparison), Moms

ah of course I put Jelly Roll in own category as composer rake and madman but otherwise I agree. I would ask the jury to consider Don Ewell as an accompanist. The solos are nice but there's more value to his being in a band than JUST holding his liquor.

I forgot Henry Vestine, my mistake. http://www.youtube.com/watch?v=zlbAxtKXwJo It's unfortunate a lot of hot Henry is lost to Blind Al Wilson's well-intentioned blubbering but... (Vestine + Ayler >>>>>> Joe Morris' career x 10, needless to say.) Also, here's what CAN be done by a great guitarist/composer with Jim Gordon on drums, rather than Crapton's jive junkie mewling-- "blues" solo at 1:58 http://www.youtube.com/watch?v=AoJLMUBSMkc

Dink Johnson

* everything with Teagarden (lots on Mosaic Roulette T) * the three Good Time Jazz sides with Darnell Howard, Pops Foster, Minor Hall for starters

i understand the sensitivity of a dude who's spent his whole life searching for just the 'tastey' 'tone' & 'chord substitution'-- much respect, on those terms but I don't give a damn about Kenny Burrell (goddamn he's so "tasty!") or post-'58 Jim Hall either (so ethereal)-- but you wanna talk Dave Tarras and we can say shalom! Clapton, Winston et al are fucking horrible, a blight on SOUND, dig? It's like rock jerkoffs who revere the Band, despite all evidence to the contrary that they were anything but one-shot mediocrities-- and that ONE idea wasn't really so hot either, once you really thought about it, esp. in a world where Hank Snow still wore nudie suits. Would you dare compare his musical contribution to that of Jerry Garcia orJohn Lee Hooker?

Did JIm riff Wayne Bennett? I did too, like I always riff Eddie Durham & Chauncey Morehouse too. If so, salut-- we can't disagree about anything. Growing up in California, the first electric guitars I heard were hillbilly but the first blues players I saw regularly was Johnny Moore although T-Bone Walker on those occasions I wasn't trying to get someone naked. I was cool to much Chicago blues though of course the best of it is deathless. Much as I appreciate Koester-- used to shoot the shit with him at the north side annex or whatever-- I'd say only half (or less) of the Delmark blues catalog is listenable (as opposed to 'admirable'), which-- it must be said-- is half again as much the fucking Alligator or Bullseye catalogs. Guitar Slim too bad Clapton & Gram Parsons didn't play together, they could have ruined two otherwise great genres of music-- and Wynton makes three! Smiley Lewis Wynton Kelly was from Brooklyn via Jamaican parents, thank you very much

You can think that Larry but it's NOT at all true. Some blues musicians could sing, some could play, some could do both-- NEITHER is primary. You can break it down either/or only by applying false distinctions about what is/isn't "blues"-- which is fine but Don't pretend 78 rpm records = 'blues" because people did different things on record and live. In ** FACT **, I'd be more inclined to argue the predominance of vocal blues distorts the importance of unique instrumental voice inc. timbre & rhythm. Ronnie Earl et al are nice musicians but their records are hard to take Jimmie Vaughan is OK too but in MUCH more limited way than SRV-- I'd not really call him a blues dude anyway (& certainly not if you hear his horrible fucking songs, that's why Kim Wilson wore the hat) but more blues-influenced rocker. Yes, Danny Kalb but even moreso Luke Faust-- look him up. *** Buddy Miles once mistook Allen Lowe for Mick Abrahams (Blodwyn Pig) at Logan airport in Boston (true story) *** TEN GREATEST ELECTRIC AUNT JEMIMAS 1. Freddie King 2. T-Bone Walker 3. John Lee Hooker 4. Elmore James 5. Pee Wee Crayton http://www.youtube.com/watch?v=6MIcM2xTog4 6. B.B. King 7. Earl Hooker 8. Magic Sam 9. Lightnin Hopkins 10. Albert King Honorable Mention * Jimmie Rogers, Hubert Sumlin, Robert Nighthawk, J.B. Lenoir, Wayne Bennett, Bloomfield, pre-breakdown Peter Green, COBRA-era Otis Rush, Buddy Guy live in 1960s

I actually meant Mother Earth but you know us old '60s dogs-- sometimes misremember. The answer, btw, to all greatest blues ______ is John Lee Hooker, absolutely towering artist no matter a few slum sessions (Canned Heat) ) and senior citizen cash-ins.

And ya'll know who the greatest (only?) Big Joe Williams acolyte was? Correct, Spider John Koerner. Mind you, I have almost no "use" for SRV music-- maybe he'd have gotten more interesting-- but did need to point out that musically & sociologically he was legit and people who say they were impressed with him live, were. Clapton is just horrible and even if his fake Don Willaims isn't the worst, why not the real Don Williams, as well as many dozens of superior country singers/writers of late '60s, early '70s? It's like the rock clowns who rate Gram Parsons, a horrible soul/country singer with only narrowest folk-y sweet spot. Bonnie Railtt probably deserves more credit than she gets though I don't need in any way either. Too bad there aren't more live recordings of Gatemouth Brown ONE solo/ONE song of Freddie King >>>>>>>>>>>> Clapton's career. Wynton is a GREAT composer, however, if you like lobotomized black Martinu. As an arranger he makes Van Alexander seem like Bob Graettinger. As a singer, Clapton makes Bob Scobey seem like Charley Patton. SRV ** was ** a Lightnin' Hopkins fan too, however, which is telling. Electric blues turd arguments have no winner. Chuck and I used to dance at Joy of Cooking shows! Simultaneously, not together. Danny Kalb

Clapton is vile and worthless save apologetic ofays-- an insult to music and musicians of all ethnic and class backgrounds. The few decent records he did ripped off other stuff, NOT the blues, i.e. his early '70s Don Williams imitation phase with a side of J.J. Cale. Ya'll are still better off with any/all Bobby Bare sides. SRV, however, was a goddamn terrific musician. Genius? Probably not but as po' white who absolutely & arduously identified, paid every possible due and then some, he was the best since Bloomfield, and a pretty good singer. That he died just as he was reaching delayed maturity is a shame. The thing with SRV, however-- and not a small thing, true-- is his band was not up to his level, or even fucking close, really. Whether the chemistry/comfort would always have been greater than working w/ funkier, jazzier, more flexible (yet reliable!) others is unknown. Watch him admiringly hang with Albert King however-- http://www.youtube.com/watch?v=Lwrye57MSgY&feature=fvst Clapton is just goddam horrible on every level-- anti-music if you will. HERE is how you play "After Midnight" btw (even w/ lesser fidelity)-- http://www.youtube.com/watch?v=cPRLaDJOPWI

The Nat set is great-- likewise the Cziffra (if you like Liszt), Marcelle Meyer and Samson Francois. There are jewels in the Aldo Ciccolini but whether anyone needs THREE Satie cycles by the same pianist... ALSO-- just got shipping notice on the Bernstein Symphony Edition, which I'd held off on last year and then it was gone. At current exchange rate it comes to $101 or so shipped to the farm-- https://www.amazon.de/Bernstein-Symphony-Leonard/dp/B003Z9Q4WG Oddly, on Amazon.com, there's now a third party seller w/ Amazon fulfillment hustling these for $187... where they came from I dunno. Also, typically, there's no goddamn indication this will come out again in the U.S. SIDENOTE: greatest Puccini opera many have never heard = LA RONDINE

To clarify, Jim deleted my post about Lucille Bogan with the lyrics to Shave 'Em Dry pasted below. Jim's call to remove tho' it's interesting how a 75 year old song by a black woman can still make people uncomfortable (if not Jim personally than those who might confuse O. site with Jim A. the musician, an old story.) Regardless, anyone who doesn't know the dirty dirty (hot) "Shave 'Em Dry", is missing out-- and anyone missing out, is missing the point of history altogether. the version I'm referring to is the last quoted here-- http://www.philxmilstein.com/probe/pix/oliver.htm I wrote an arrangement of this for kazoo orchestra + tenor obbligato I'm hoping Allen Lowe will someday record but... Meanwhile, I'm still waiting for the "I don't care about" s-e-* crowd to explain Little Richard & Esquirita to me. And didn't Miles say the the first thing he does is "look at my ding"? Oh my!

Some of ya'll are VERY naive or in odd denial. Before buying the 10th reissue of X, Y, Z I strongly suggest you read George Chauncey "Gay New York: Gender, Urban Culture, and the Making of the Gay Male World, 1890-1940"-- http://www.amazon.com/Gay-New-York-Culture-1890-1940/dp/0465026214 THEN, besides Bessie on the distaff side and Charles Brown and Bayard Rustin, how many gay black folks can you name pre-1960? Like they were excepted!! (Or accepted.) (But in fact there was v. interesting gay black/trannie culture, of which Little Richard & Esquirita are only best known examples.) All you candyasses-- and I use the term affectionately (munch munch munch)-- turning away are only adding to long legacy of shameful oppression tho' obviously the counter-reaction to that is subject of much great art, William S. Burroughs and Hubert Selby (where the gay Brooklyn tranny is also charismatic bop hepcats) to the best Benjamin Britten ("Billy Buddy," "Death In Venice"), etc. Chris, if you didn't read it at the time-- and you might have-- get Irving Rosenthal's lone novel "Sheeper." re: Bunk, I believe it-- now if you told me Billie Pierce... get in a three with DeDe and anything can happen, yeehaw!

there are shockingly NO record stores in Savannah. there are a lot of 'hood parts of Savannah it's easy and interesting to walk into, by accident or otherwise. here's the King Oliver plaque--