John L

The question is: Could Hunter, Garcia, and the rest of the Dead relate to it through personal experience? The Dead was always something like a great rock band in search of a roots identity. Just like the Dead could never sound nearly as authentic as Bobby Bland with Turn on Your Lovelight, they couldn't do Country with the anything near the authenticity of a Merle Haggard or Johnny Cash. But they brought a certain surealistic quality to those country-tinged ballads like Brown-Eyed Women that I find extremely attractive. For me, the best performances of ballads like Brown-Eyed Women, Sugaree, Peggy-O, He's Gone, Loser, They Love Each Other, Ramble on Rose, Wharf Rat, and Tennessee Jed are the most sublime moments of the Dead's music, surpassing even the deep intense jams on Dark Star, the Other One, and Playing in the Band (which I also love).

Who expects corporations to behave like that? Dream on.

Actually, I think that the 1951 Christy's recording is quite nice. Bird and Wardell are in good form, complete songs were recorded (as opposed to only Bird solos), and the sound quality is relatively good as Bird live recordings go. This session has been released a few times on CD, once as "The Happy Bird." The LP might also include the well-known October 1950 Chicago session from the Perishing, as there was speculation at one time that Wardell might have been the tenor player. Now it is accepted that Claude McLin was the tenor saxophone player at that gig.

Yes, this is a great thread. Thanks to everyone, and to Orchiddoctor and Lon in particular, for keeping it so stimulating and informative.

Yes, and Jelly Roll Morton's demonstration sheds some doubt on the conjecture repeated at this site that Nick La Roca wrote the tune.

What is the advantage of re-ripping? Can MP3 files get damaged just sitting in a hard drive?

That does sound strange, beginning from how your computer destroyed your iPod by "wiping" its hard drive. How did that happen? If I understand you correctly, the music plays OK in iTunes, but not when it is on the iPod. I imagine that there could be some problem with how the MP3s are formatted. As an experiment, you might try deleting an album from your library without removing the MP3 files, and then adding it back with the new version of iTunes. That should get the bugs out.

I actually rip mostly at 128. Otherwise, I wouldn't have enough room and time for my music. When I download MP3s, I try to get better quality. The logic is this: I am keeping my CD collection until the next generation of technology will make ripping and storing in lossless cheap and easy. Until that time, 128 will do.

She is very welcome here!

Joe McPhee?

...but Pharoah wouldn't have anything to do with that oboe.

Criss was always a monster saxophone player. But I do think that he improved greatly during the 1950s, and that the improvement had a lot to do with rhythm. I have never noticed "fucked up timing" in the earlier Criss, but there is a certain lack of rhythmic variation compared to what he played later. The later Criss played fewer notes, but made them count more. He also got much deeper into the blues.

The Barry Ulanov (Bands for Bonds) sessions were released on CD on Bird's Eyes volume 17. if you take a look at the Charlie Parker discography, you will see that several known "private tapes" remain, although it is not clear to me if there is anything really major left. Of course, new recordings keep getting discovered. The recent Town Hall 1945 is the best example.

Same here. I've gotten stuck on this one: Not only is Bootsy freakin' unbelievable on this, but the seamless tag-team interplay between JB & Bobby Byrd never fails to bring a glow to the soul. I brought the New Year in with this one. If only there was more with Bootsy and Catfish (other than this and the Paris live recording)!

I did. Maybe we define "primal" differently. To me, "primal" in the blues is a voice, a compelling and original voice. Lowell Fulson had that in abundance (IMO). I recall that somebody (Peter Guralnick if I am not mistaken) once referred to Fulson as the George Jones of the blues. I think that fits pretty well. Fulson could really wrap his voice around a line and make it ache. Some of my favorite Lowell Fulson recordings date from the 1940s, before the time that he really emerged as a guitar player. But what his guitar lacked his singing more than made up for. There is nothing else quite like it in the blues. I can recall quite a few memoral nights at Eli's Mile High Club in Oakland with Lowell Fulson. When it came to the blues, he delivered.

And I'll back you up on it. There is actually quite a bit of variety in Lowell Fulson's recordings over the years At any given one period of time, he may repeated himself quite a bit, as was common for anyone looking to repeat commercial success. If repitition of formulas for recording sessions is the basis for exclusion, then we would have to exclude almost all popular blues artists. In contrast to Clem, I consider Lowell Fulson to be a primal force in the blues. He developed a highly distinctive guitar style, but his real bread and butter was always that trememdous one-of-a-kind singing voice. Desert island material, if you aks me.

Well, the idea was that I had so much class in the first four that I needed some skank as well.

Thanks, Brownie.

Yea, maybe I should have taken some time to think about it.

Jim: Read the first post again. He said that you can bring the artists with you, not just the records. In other words, you can take Monday with you! Still not going? I would be sure and bring only women. Billy Holiday Dinah Washington Abbey Lincoln (from back in the day, of course) Maria Callas Paris Hilton (She counts. She just released a new record)

Yes, I think that you still must have it in automatic synch. You know when it is in manually synch by the fact that no files are added or deleted from your iPod automatically.

Since you guys already grabbed the eyes and the legs, I guess that I will have to settle for the rest of her.

I'm sorry he's gone, but not sure how hype like this helps the cause. Let us know which two of the following get removed from the list to make room for JB, who was by all accounts a groundbreaking musician but a real MF of a human being: - Frederick O. Douglass - Booker T. Washington - George Washington Carver - Jackie Robinson - Duke Ellington - Martin Luther King What about Nelson Mandela?

This is really the end of an era. In retrospect, James Brown may have been the most influential musician of the last half century. He was an absolute giant.

The JBs