John L

In my book, Golson and Shorter are both monster composers. I see no reason to set them off against each other. On the tenor, I find Shorter to be a bit more exciting. But I can sure enjoy listening to Golson as well.

That was the first thing that came to my mind as well. I was once listening to all recordings of Wayne in chronological order. When I got to the RTE Olympia concert - wholly shit!

I think that Muddy Waters and BB King are highly inventive in the blues. They created styles and approaches in the blues that are now associated with their names and copied by 1000s of others. In the blues, I think of Junior Mance more as a practitioner, and a very fine one. In general, I have no trouble with the idea of Junior Mance being "great."

Some interesting comments here. I don't consider myself to be a musicial artist and don't strive consciously for some sort of individual creative voice. On the other hand, I am white and love to play and sing blues, R&B, and gospel. I do it sometimes on stage in front of people. That is the music that I grew up with and feel the most in my soul. That is what comes out of ME. If I tried to do white country music, it would be wrong. That would feel fake. I am very therefore very sympathic with white artists who play black music because that is the music that they feel inside themselves. That is the best that any artist can do from the point of view of "authenticity." The critics, writers, and listeners can then try to make more objective judgements about what is authentic and what isn't.

Interesting. I have always enjoyed Mance's accompaniments quite a bit. He swings hard, has impeccable articulation, and doesn't get into anybody's way (The latter is primarily what sets him apart from Peterson in my mind). I thought that he did a great job, in particular, with Griff and Lockjaw. Mance is very bluesy. On the other hand, I have never thought of him as a particularly great blues player in the sense of being highly inventive with the blues. One blues performance that sticks out in my mind is his reworking of "Blue Monk" on the "Junior's Blues" album. Very nice.

Jump for Joy is a very nice disc indeed. Ernie Andrews is a fine singer.

I found this informative link on the subject. Pete Whelan interview

Yazoo is a great label, but it didn't come up first with the idea of releasing old blues 78s on LPs. English rock musicians, including Eric Clapton and Jimmy Page, were eating up as much blues as they could find in the 60s. Clapton had a particular interest in old country blues. The English fad for obscure country blues at the time also had a manifestation in the name of Pink Floyd, which was based on the names of two very obscure country bluesman: Pink Anderson and Floyd Council. Origin Jazz Library released a number of LPs in the 60s that were in every hard core blues lovers collection. I remember that one of them was called "Really the Country Blues." A few others were devoted only to Delta blues. There was a two-volume release of Charlie Patton. A lot of those Led Zeppelin covers were most likely covers of covers. Their Rollin' and Tumblin,' for example, is most likely a cover of Muddy Waters' version, not Hambone Willie Newbern. Their Going Down Slow most likely got its inspiration from Howlin' Wolf, not St. Louis Jimmy.

Virtually everything by Criss is worthwhile, especially what he recorded from the late 50s through the 70s Muse albums. That includes the French "Blues Pour Flirter" sessions, the Peacock release, the Prestige recordings, the Xanadu album, and the two Muse records. And don't forget about this tremendous live release: Some absolutely incendiary Criss blues playing can be found on outakes of the Blues Pour Flirter session released on this disc in the Jazz in Paris series.

I virtually never look at Rolling Stone anymore. But I saw a copy in the airport with an Bob Weir interview. So I checked it out. I was impressed. He is a very intelligent and level-headed individual.

That's a nice companion piece to the quip Tommy Flanagan liked to make: "Bebop is the music from before the Beatles... and after the Beatles." I seem to recall that you and I together heard Tommy Flanagan make that comment at a concert in Paris.

Louis Armstrong is pre-bop, post-bop: the past before bop and the future after bop. That doesn't mean that he is bop.

I highly recommend paying the extra dollar to get the 3/5/99 release date.

Excellent idea, Lon. Thanks. I will.

It is here in Russia (where I am at the moment). But it should still be the 29th in North Carolina.

You mean that you have never had the pleasure in church of sitting behind Sister Flute on one of those hot sweltering days? Those really are some obscure names. Is there also a Sister Funk 1?

Mr. Magic was very helpful in getting me interested in jazz. So I owe him quite a lot. Nuff said.

Is that the Straight Life LP with the yellow cover?

Clifford Brown on Emarcy Dexter Gordon on Blue Note Miles Davis Second Quintet Bud Powell on Verve Sam Rivers Mosaic

I assume that this is one of the Spanish boots, and they are combining the two Ornette at the Hillcrest LPs on one disc. I've already done that myself on a CDR. That is far from "complete." Paul Bley assures us that there are a lot more recordings.

I like that one too, and it is very "straight ahead." Louis Hayes' "the Crawl" is also a smoking date with some fine Bartz.

Why does this make you think that Billie (or Pres) originated the phrase? Was it not in use before then? The way that the phrase is used sometimes used today puts the emphasis on all: it's all good. Billie seemed to be putting the stress on good, i.e. she was happy with everything that the band was doing, but just slipped herself.

Depends on what you think is more of a joke - Aric or higher education in America. Higher education in America is a joke? Then where is it not a joke?

Because "The Complete Max Roach Mercury and Argo Plus Four Sessions" would have been too long a title?