MomsMobley

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).

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.