MomsMobley

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--

thanks for the head's up, crisp-- this was predicted/hoped for but we weren't sure it'd actually HAPPEN. I'm sure like most here i couldn't afford the big Artie box (chest!) when it came out... in related news, it appears the fast-disappearing Bernstein Symphony Edition might be coming back-- both Jpc.de and amazon.de have it listed for September 9 tho' in typical major label idiocy fashion, good luck finding that info out elsewhere (wouldn't want to build excitement or anything). http://http://www.amazon.de/Bernstein-Symphony-Leonard/dp/B003Z9Q4WG lastly, on the EMI side, anyone even thinking of the astounding Gyorgy Cziffra set should grab it if/when they can because that seems to be gone.

T.D., sorry to say, Scarlatti on piano is mostly dogshit... There are a few exceptions but it'd be like transcribing all Red Allen/Jabbo Smith/Frankie Newton/Fats Navarro/Dizzy/Miles/Booker Little music for fucking TUBA or ukelele... you can do it, sure, but why?! Sorry to say Clara Haskil's Scarlatti like her Mozart is for people who don't really like-- or yet know-- the truth about those composers. This is the kind of shit that gave classical music a bad name in the first place. In a similar vein, Tureck's Bach still sucks too and the only reason I won't say worse about Angela Hewitt is her popularity helps subsidize other far more interesting & inspired Hyperion records. Mikhail Pletnev is by far the greatest Scarlatti pianist; Zacharias (both EMI & MDG) is very good but lacks Pletnev's mad genius. I think Horowitz is better than Mike allows but it's like his Scriabin too, almost sui generis. on harpsichord, king of instruments, I'll plump for * Scott Ross (the big box is worth it, yes) * Andreas Staier * Pierre Hantai * Ralph Kirkpatrick (underrated) * Christophe Rousset * Skip Sempe (American!) * Blandine Verlet * Wanda Landowska (despite the fake harpsichord) AVOID Gustav Leonhardt except as example of 'the Leonhardt school'

Down, boy, down. John L ** TOTALLY ** misrepresented this tape. Schaap was the MC and booker at the West End-- he gave Warne the fucking gig and you know as well as I how common that was in the U.S. then outside of Sal Mosca's basement. If he's hyping Supersax it's because he's playing hype man and even to erstwhile 'hip' Upper West Side audience that was well known part of Marsh's LesterBird continuum. I'll bet you 54 different WM performances of "Ornithology" Schaap damn well knows what Marsh had done and was in the process of still doing then. Whether or not Warne liked Schaap I have no idea but this "criticism" is absurd. Catch Schaap on a good day and you might get (more) inside dope on the brilliant and Dr. Mabuse-like sides of Lennie T. To all the clowns whining about Schaap talking to much (as opposed to content of his monologues/interviews), if you want to listen to RECORDS, play a goddamn 78, 10" ep, 16" transcription disc, reel-to-reel, lp, cd etc. Even with boots there's a finite amount of Bird, you can listen to it ALL, music only, to heart's content, if that's what you want. And if you don't care to know the significance of say Plessy v. Ferguson in relation to Benny Moten that's fine too but don't try to drag the rest of the world down with you. GRRR!

Relax Brother Joao I'm legally blind and make lots of typos even on names not Anja Bylsmo it's nothing personal re: Amazon, they are a stockist, not an importer. You can go to any number of 1000% legitimate retailers in America and see in their jass sections the same items we object to. I disagree with it there too; in New York, J&R carries both the best and worst of releases almost indiscriminately; it's a shame because as their stock dwindles, the dogshit takes up space and what used to be deep catalog of, say, Jazz Oracle, Hep etc scarcely exists because they don't restock what sells... ... I think I even saw Andorrans of OJC material at the Jazz Record Center last time I was in the city (for the American Osteopathic Association convention), though I hope I mis-saw that (my eyes are fucking shot, which is how I ended up with that Trannie too though I can't say it was unpleasant in the end). Not that I hold ANY water for Concord Music Group but my respect for Lester Koenig and Fantasy Jass remains high.

M. Brownie-- Consider the complainant. Tuff City is hardly a citadel of artist rights, to say the least. VERY high likelihood this is a clerical issue/money grab, if there's any merit to it all. They REALLY don't want to open that can of worms re: Tuff City's "reputation," which would be pretty difficult to "tarnish" vis a vis business ethics. JAWS-- Care to elaborate? I hold no water for Amazon in particular except as a formerly reluctant customer with... great respect for the customer service I've been afforded there. I assume they make more than enough money that what-- fifty bucks, tops-- they might have made selling a few Percy Mayfield tunes is simple error, not malice. If I have a beef with Amazon music-- and others-- it's their indiscriminate stocking of dogshit Andorrans that are wholesale swipes of in print Blue Note/OJC et al material. (For titles which have never been in print since vinyl or are long gone I can't complain though I choose not to support then, though once upon a time I adored my Fresh Sound Al Haig trios et al).