MomsMobley

Walter Vinson --------> Eddie 'Cleanhead' Vinson (who's pretty good) --------> Vinson Cole (the black tenor) ---------> Vincennes, Indiana (has its good & bad points) --------> USS Carl Vinson (docked points for racist-- if merely typically so namesake) -------> . . . . . . . . . . George Fornby (who might actually be as good as Cleanhead, actually------> http://www.youtube.com/watch?v=oYo7a0GZlZQ . . . . . . . . . . . . . Will Vinson, the death of music

belated notice of mainstream media MOBLEY love, a pretty rare thing these days. http://hilobrow.com/2011/07/07/hank-mobley/ not many words but some is mo' than none.

pickled herring >>>> vincent herring... watch or re-re-re-re-re-re-watch MONKEY BUSINESS and tell me different. even thinking about vincent herring's "creativity" makes my head hurt anyone remember mid-'90s player piano Gershwin craze? at least that was WEIRD. *** you should watch James Earl Jones in ROBESON http://www.amazon.co...s/dp/B0006SSQ1G is it possible internet so ig'nant there are no clips on youtube et al i can't find any An answer to the existence of recordings of Mark Twian's voice: http://www.telecomtally.com/blog/2006/02/how_did_mark_tw.html From that site: About a recording of his voice, there is nothing extent that is without doubt a recording of his voice. Thomas Edison did record Twain's voice but those recoding were lost in a fire. Rumors of other recordings come up from time to time but nothing has ever been verified. A recording at Yale is generally thought to be that of a mimic who perhaps knew Twain. The simplest answer is that there are no recordings of Twain's voice. edit - There may be a more authoritative answer out there somewhere.

http://www.youtube.com/watch?v=z2OXUnGTpzc

AMCD-75 New Orleans 1946, inc. * Original Zenith Brass Band * Eclipse Alley Five * Avery-Tillman Five Worth it for Baby Dodds' snare drum on the Original Zenith session (Feb 26, 1946); if only Irv Cottrell could hear us now! The Eclipse Alley session with vocals from the next is likewise insane; let the Berenice Phillips fantasies begin. Anyone know what beer Jim Robinson is drinking on the back cover of the cd booklet? And who is "Dude" Lewis (tpt)? http://www.amazon.com/Zenith-Brass-Band-Avery-Tillman/dp/B000001YIN AMCD-51 John Handy The Very First Recordings July 1960 sessions, the first co-recorded by Bill Russell himself. "Joe Sheep's Boogie Woogie" b/w "Hindustan" shoulda been a single! http://www.amazon.com/Very-First-Recordings-John-Handy/dp/B000001YIA *** Chris Albertson-- how did you and/or Bill Grauer get the use of Ralston Crawford's photographs? Were you aware of his work in N.O. previously or did you meet on that trip?

New Brautigam concerto series on BIS-- http://www.youtube.com/watch?v=SLHzeMBgS5o Casadesus is as good as modern instrument Mozart ever got or will get, definitely.

one of the greatest 'party records' of all-time, in every sense of the term-- GEORGE LEWIS BAND "At Herbert Otto's Party," from 1949. even if you're not a "viper," the sex and polyphony is astounding. http://www.amazon.com/Herbert-Ottos-Party-George-Lewis/dp/B000001YIM http://www.jazzology.com/item_detail.php?id=AMCD-74 Lawrence Marrero (bjo) >>>> Eugene Chadbourne + Derek Bailey combined blows "Mama Too Tight" back to Goddard commons too

Let me add Emile Barnes' Harmony Four (AMCD 102) to the Recommended list. This is actually contains three different sessions * Emile Barnes recorded in July '46 w/ De De & Billie Pierce et al-- four tracks * Israel Gorman's Band in July/August '54-- with Charlie Love, Emma Barrett, Joe Avery et al-- ten tracks * De De Pierce's Band in May '53-- two tracks The Jazzology website while 'authoritative' does the label a little disservice in that you can't see the mostly excellent cover photos, nor can I seem to get just a straight up discography. CD Imports has it (ignore the idiotic non-inforative Allmusic 'review')-- http://www.importcds.com/Music/401227 Tho' once I take a couple of my goats to market and I'll place an order with Jazzology direct. *** AMERICAN MUSIC SHOWDOWN Kid Thomas or Kid Sheik: Who Will Win? also, Jeffcrom, do you have any of the American Music DVDs?

Arkiv is 1000% legit-- you get printed CD-R full color xerox package inc. booklet/libretto-- not sure about slipcase on operas etc with such. Whether you wanna pay for that or search out an elusive-- perhaps 'collectible'-- original is up to you. They've done some never-on-cd stuff too but in any case, it's a stand-up, fully authorized operation.

"All The Whores Like The Way I Ride" unfortunates raised in era (error) of rock hegemony are pushed toward "free" crap first ("that 'fire music' is 'spiritual,' man"), little of which stands as either sound or composition (AACM sentimental gentlemen most notable/sustained exception). YOU go listen Alan Silva or Peter Brotzmann (or Jason Moran or Joe Lovano), i'd rather slop the stable barefoot. thing we now realize is the American Music albums were rare and the reissues postdate many a young person's collective improv thigh dive. now that it's mostly available, we can REJOICE and get minds right. "There's Yes Yes In Your Eyes"

Please. And that's why Jeffrey Tate has such a 'terrific' reputation for... anything but dully competent time beating? Please. And that's why Uchida's discography is a testament to misplaced diffidence? I.e. she so desperately wants to be "Viennese" she's afraid to do anything that might even slightly arouse or inflame the meat of an Englishman (thinking of magazine editors and writers here, not O posters). You're alread handicapped with a modern orchestra + instrument, to not even ** use ** 'em for all they got is twice dumb. Stryker 1-9, I will grant early Barenboim is at least brusque and peppy, which is sure better than precious but I don't hear much more there. DB's best work is romantic era conductor. I forgot Richter-- http://www.youtube.com/watch?v=84okP0MdpCc I forgot Michelangeli-- http://www.youtube.com/watch?v=-Ikrny0Bllk also, Anthony Newman on Harmony (blow me Charles Rosen)-- http://www.youtube.com/watch?v=wfFYUac14Kg

B-Train, Rubinstein Brahms is a "bargain," sort of, tho' you don't need the last concerto recordings AND... ... if you wait I believe there will be a big Rubinstein box a la Gould, Horowitz, Heifitz, in which case more is more and you'll be glad for everything. i suggest holding off and getting the Brilliant Medtner box instead-- http://www.amazon.com/Nikolai-Medtner-Complete-Piano-Sonatas/dp/B000YPWBQM The Polish Chopin period edition is pretty hot, not ultra-bargain but high qual-- http://www.amazon.com/Real-Chopin-Complete-Period-Instruments/dp/B004EQAUZQ Don't even pretend Uchida on her best day flashing crotch shots from the piano stool beats the least of the performances.

thanks Jeffcrom. What's up with all the blue label stuff, and the 200 volumes George Lewis Oxford series? so far I have: Yellow-- two George Lewis you mention, Bunk Plays Popular and Blue-- Bunk + Leadbelly, Mutt Carey + Hociel Thomas & Lee Collins + Chippie Hill (both women in shockingly strong voice), and Bunk + Don Ewell. Don Ewell is the healing force of the universe. will def. get the Jazzology book + cd... it's a shame I spent my youth tracking down BYG, ESP, FMP splatter (little of which interests me now) when the REAL heat was right here. I'll grant it's possible to dig Bunk and Bill Dixon but I'll take the BJ 99 times out of 90.

if this has been done before i can't find it but I'm curious what are O-sters favorite 10-20-30 releases on this label? is anyone a George Lewis completist? which Emile Barnes goes best with shrimp? what was Bunk Johnson's drink of choice? Is Kid Thomas really related to Danny Thomas or was that just a publicist's fantasy? etc etc. Merci.

it's not THAT elusive!! it's only the modern instrument perfect technique hegemony that makes it seem so, also the gross misunderstanding of Mozartean 'style,' which even at its most 'galant' should never be precious, any more than CPE Bach should be precious. death to public radio Mozart!! also, there's PLENTY of Mozart that can be played for background-- most of the serenades, dances, etc-- it's asinine, and just plain wrong to treat the PCs that. by far the most important thing is to understand the operatic rhetoric of these works which-- like an opera-- DO allow for a variety of valid performance depending on circumstance, they should all be DISTINCT (if not Dink Johnson). the use of period orchestras is an important step in that direction thought not the only one; Schnabel, for instance, figured out a legit approach with people far more versed in Wagner and Brahms. the real question as with Handel is ORNAMENTATION. try these on like your moms favorite panties-- K. 595-- http://www.youtube.com/watch?v=4zfNW9XQ9ME K. 540-- http://www.youtube.com/watch?v=Y36tQ56C3b8 Robert Levin on Mozart sonatas-- http://www.youtube.com/watch?v=RWKbOGMqDVw Bilson Haydn-- http://www.youtube.com/watch?v=dvbWnR5QKFE Dink Johnson >>>>>>> Keith Jarrett too (tho' Jarrett's no worse than Uchida) That's been my experience, too, darn it. All I can do is point to/enjoy the pianists who bring the music to life for me (e.g, Perlemuter and Rubinstein) and wonder why so many others don't. I'm reminded, too, of a revelatory performance of the Clarinet Concerto with Karl Leister and (to my disbelief) Karajan (on EMI, in a box with other Mozart wind concerti played by BPO principals of the time). Not that there aren't plenty of nice or better recordings of the work, but there was a certain "instantaniety" of rhythm to Leister's phrasing that made this familiar piece seem like I'd never before heard all that was there. It has something to do with the fundamental transparency of the music and the purity of the melodic expression. It looks fairly simple on the page and doesn't require finger-busting technique, but it's tricky to get to the emotional core of the music. Sometimes chefs will say that the hardest thing to do is to perfectly roast a chicken -- not fancy techniques, no fancy sauces, no layers of ingredients. Just pure fundamental technique. Not the most sublime metaphor perhaps, but maybe great Mozart is as elusive as the ideal roast chicken.

Are you wearing chaps? Have you read "At Swim Two Birds"? A great Irish Western! More pertinently, have you ever seen/heard a first rate performance of a Mozart opera, from "Idomeneo" on? I'd even grant you "Mitridate" in certain recordings. Would you say there were somewhat... "dramatic"? While there are moments of repose in the piano concertos, any performance-- let alone set-- that underplays their great variety of dramatic situations is CRAP. Uchida and Tate are a joke; she was a competent marketing trick when such could still be pulled off; that's she genuine Vienna-phile doesn't change the fact she's unimaginative-- or, if you wanna be generous-- that she imagine's a far more genteel and prissy composer than one I ever wanna hear. Brendel is overrated by the Limeys and unpleasant to look at but before he became Venerated he could be okay-- and Neville Marriner is actually a terrific musician, if not best or most alert or creative in any one way. If there's a generalized goodness possible, he's it. Hogwood's is sorta similar as conductor, with a few higher peaks and valleys; Andrew Manze is mostly garbage-- it was just confusing, at first, to see a Limey paying lip-service to letting loose we thought he actually WOULD. Hardly. In nearly all repertoire the best French, German, Italian players waste him. Some Brits can get wooly but moreso under foreign conductors than their own (who aren't all snoozes mind you but in Mozart and before they usually are.) The Dutch are a goddamn puzzle. Some of the best and some as lame as anyone; same goes for Belgians and all those dreary Leonhardt/Kuijkenites. It was better before they got their chops up in that THE STRUGGLE added character their later facility smoothed out. In any event, I forgot Robert Casadesus-- any performance from whom kills everything possible from an Uchida, Anda, Perahia, Ashkenazy (the last has made some nice recordings as a conductor btw, better by far than most of his later piano work). You forget, apparently, that classical marketing was really quite a thing, once upon a time, and that if you were not among the chosen the few, the attn you'd get-- and retail exposure (when there was such)-- exponentially less than the stars, quickly diminishing to nothing. Also, don't miss DINK JOHNSON!!! It's never too late.

Stefan, coming soon-- or already there in Euroland. http://www.amazon.com/Complete-Concertos-Sofronitsky-Collegium-Varsoviense/dp/B004M5BZR6 yah, K.A.W., the Buchbonder orch. isn't the best but at least it's 'characterful.' Staeir, Vegh, Pletnev and Sofronitzki are best for non-generalized accompaniments, Fey too w/ Zitterbart. Would be great if Rene Jacobs or the Akademie Alte Musik Berlin were in the game but so far nada. Ashkenazy is a nullity in Mozart, Barenboim too; Brendul + Marriner probably best of the 'common' major label sets. Marriner won't rock your ass but he will poke at it once in a while-- feels good!

Uchida SHITS on the shelves-- she owes you, man, more than you owe us. You just posted on a bad day-- listen to three Don Ewell records of your choice as penance. And while Perahia has made some decent recordings (Bartok, some Bach), the Mozart is not among them. AVOID AT ANY COST. gentle/genteel Mozart is a sham/shame any way you slice it but if you gotta go softer, Andras Schiff + Sandor Vegh is superlative bc Vegh is such a terrific conductor. Schiff ain't horrible but there's a lot more than he offers. For sets, Vivian Sofronitzki is best-- being reissued cheap even as I speak-- with Malcom Bilson a tried alternative tho' as ever in Mozart, Gardiner cond. can be glib. AVOID Immeerseel, the Perahia of period instruments here. Anda was and remains horrible-- the kind of shit that gave Mozart a bad name in the first place. Brendel isn't terrible but he's never better or more interesting than many others. Get anything Schnabel, Pletnev, Staier, Zitterbart and, if you see it for a decent price, the Rudolph Buchbiner integrale on Profil, which might be best modern instrument set ever.

** ALL ** Mozart on modern grand piano gives you less than half the music. Uchida is horrible. Brendel is dreary. Schiff sucks tho' he's gotten better since then. Zoltan Kocsis or Dezno Ranki are in fact very good-- grab 'em if you see used. Of common stuff Klein is subtly tolerable but Euros will do better with Zacharias on EMI, as well as stray sonatas by Schnabel and Cassadesus; forget Edwin Fischer even if Chuck wills it otherwise. Forget Barenboim, though he's a decent accompanist (Wolf) and conductor (Busoni) sometimes. I will strongly disagree with the esteemed Mike Weil re: Gould, which-- true-- ain't the place to go hear tinkly-tink Wolfgang but is superior execution of counterfactual interpretation. Listen to the dozens of polite turds in K. 310 and Gould is like a great hand job in Finnish sauna-- blessed release! Leon McCawley's integrale on Avie is fine; you might know his superlative Barber disc on Virgin a few years ago but still, he can't triumph over the boring instrument. *** Bilson is #1 choice, still, the sonatas Brautigan is also good but I'd get Bilson + supplement Brautigan in variations; Laura Alvini is also swell in variations. recently, Kristian Bezuidenhout is great so far-- one small label, two Harmonia Mundi, one HM + Mullehjans in vn sonatas http://www.youtube.com/watch?v=DV8RY75t888 Marcia Hadjimarkos from Iowa (that will make Chuck happy) is fantastic but she's onlt recorded one cd. Andreas Staier kills his two discs on HM + was part of Les Adieux in the pn quartets. Siegbert Rampe has a series of all Moz solo keyboard on MDG, even uses clavichord some but with all the juvenalia, it's hard to recommend for regular listening. *** in the PC's Bilson, Sofronitzki and Staier are King, Queen, King. Levin is interesting. Immerseel is a snooze. Perahia, Brendel, Uchida et al are fucking butchers. Casadesus and Schnabel save what's salvageable.

classical Zappa and Ruth Underwood getting some mainstream media attention-- http://hilobrow.com/2011/05/23/ruth-underwood/

"Go ahead bitch, show me what you can't do." -- Charles Mingus to, presumably, Jane Getz from Suze Rotolo's autobiography-- Freewheelin' Mingus

Braxton is much closer to Wagner than an egret.

Roy Harris & George Walker

hmmmm-- wasn't Bylsma I (from RCA/Seon) reissued in the Sony SEON reissue series or am I Confucius? In any case Bylsma I >>>> Bylsma II. Also, for the Bach keyboard: ** any ** Andreas Staier. Also, for Bach (family) vocal: ** any ** cond. by Konrad Junghanel, though he's a little more gentle than you might expect. Also, for Bach listeners who read English, Durr/Jones Cantatas of J.S. Bach Chafe Analyzing Bach Cantatas I will speak on historical-- as opposed to 'historically informed'-- recordings of the Art of Fugue in the next lecture. Anner Bijlsma's Sony recordings are the later ones, they were made in 1992. His first set was released by RCA/Seon in 1979.

Dixon had nice hats