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right - I wondered about that line!

I have some sympathy with the man at the cemetary wishing to remain anonymous in view of the fact he had no idea what they were looking for, maybe if he had known it was a worthy enterprise he may have thought differently? - difficult to determine what is some kind of 'racial' suspicion and what is just a normal feeling of trepidation

I've been waiting for this one - Fire In My Bones was amazing. There's a newish Rev Charlie Jackson release out too from 50 miles of Elbow Room - just lp at the moment though I think. A sample on Youtube: You Got to Move: Live Recordings, Vol. 1 LP

William Etty last weekend at York... only a flying visit - lots of voluptuous nudes, his chief concern apparently.

don't miss at the foot of the page a link to Angela Mack's photo of the death certificate

Don't worry - if the message is going out via the Daily Mail then only crap records will be lost

well excuuuuse me

Tempus Fugue-it - Bud Powell

My two small boys love freaking out to Charlie Parker's Ko-Ko, Art Tatum's Tiger Rag (& Elegie) and Flatt & Scruggs' Foggy Mountain Breakdown - these are probably obvious ones but that's what they like and them kids live fast Johnny Griffin?

I can't comment - I have no recordings by either because I'm listening to everything in chronological order and am only up to Creole George Guesnon. But I do have a Peter Cook CD where Sir Arthur Streeb-Greebling talks about being arrested outside Clapton's apartment in Los Angeles during the riots in 1991: "give me Ginger Rogers, or Ginger Baker - whatever the other one is, the one who went to Africa and taught the natives how to play the drums"

Well - I was playing some James booker at work on Wednesday, and a girl came in and started feigning air guitar - I said "you know it's a piano don't you?" - she said she thought it was Eric Clapton, or Chris Rea.

racist bastard (joke)

fantastic - I get pathetically mesmerized by his face. Theres that clip on Youtube somewhere with Muddy growing visibly annoyed with SBW for playing his harp too long - gesturing for him to quit, and then just giving up and smiling.

- somebody who Clapton didn't enjoy playing with. this old article from the Independent has stuck in my mind because of Paul Oliver's description of Sonny Boy: But if [Muddy Waters'] beaming, Cheshire-cat grin made him seem comparatively benign, Sonny Boy Williamson was more like the heart of darkness you feared the blues might really be about. "That was hard-core experience and quite frightening," Clapton says of backing him. "It could almost have turned me off... we didn't hit it off too well." You can understand how the older man might have seemed a little testy to young Englishmen not long out of school. "Seeing him perched on the back of a chair or hovering over a microphone, Sonny Boy Williamson reminded you of a buzzard," the blues historian Paul Oliver wrote. "He had the mien of a French diplomat, the distinction of D'Annunzio - and a certain Mephistophelean wickedness in the eyes which was not at variance with the European tradition of schemers, manipulators and men of letters." He carried a knife and drank continually from a hip flask full of whiskey. As if to counter this fearsome reputation, Sonny Boy liked to dress to impress. He had an English tailor make him a two-tone harlequin suit in black and charcoal grey, and wore it with rolled umbrella, bowler hat and kid gloves, as if in parody of The Avengers' John Steed, or Evelyn Waugh's Chokey. He liked the English beat clubs and the teenage bands who backed him, it's said, because they made no pretence to folksiness or blues purism. He hoped to return to England to live.

correct. And another thing - was it Fonz who was the reason that we communicated as children with our upstretched thumbs , or was it - as was suggested to me today - this man:

Do these things have a trickle down effect? When Hugh Laurie’s blues release went out he had tons of prime time media exposure and people were saying it was good for popularizing blues and might ultimately get lesser known musicians some exposure... I have a cousin who’s a classical musician who plays early music on various stringed instruments - lute, theorbo etc... she was pretty unmoved when Sting stepped onto the scene a few years ago (again getting mass exposure when he picked up a lute) - I don’t think her audience has exploded since

Lee Perry - The Upsetter Ethiopians - Reggae Power (Trojan)

Being born in the early seventies, Fonz for me was the Birth Of The Cool article

There was a small mix-up above - what happened (I think) was the guy with the drumsticks was talking about the guy with the bass and agreeing with the guy with the guitar but the guy with the guitar thought it was the guy with the bass talking about him?

Double Or Nothing

Luckily for me I'm probably unable to recognise virtuosity anyway - that is, for me, the thing that affects me with blues is something about the repetition - and the subtle changes within that repetition which I daresay can be either simple or complicated but the thing that maybe is perceived as 'primitive' or 'intuitive' is just how hypnotic that repetition becomes to me - whether its junior Kimbrough or Peetie Wheatstraw or Dock Boggs... I suppose I might say that the more virtuosic it is, the more it departs from the repetition, maybe..?