John L

I don't know about all of this. I also think of the blues in a general and mystical sense, but maybe not nearly as general as Jim S. I think of the blues as a very specific language of musical communication. It is a very deep language, a language capable of supporting a dialogue from deep within the human soul. This dialogue can bring to the surface the fundamentals common to the universal human experience that Jim S describes in his posts. Nevertheless, I think of the blues as one specific language (or a family thereof) that was created by African Americans in the last two centuries. There are many other languages and mediums in music and art as well, even in jazz. Maybe it is just a semantic question. We need a word to describe the specific language in question. If not "blues," then what?

It's all a bit confusing. At the very least, I would say that the balance of evidence suggests that the word "jazz" for music did not enter the American vocabulary first in New Orleans. They were still calling jazz "ragtime" in New Orleans into the 1930s. Therefore, I have serious doubts about the jasmine perfume story. Eubie Blake also said that "jazz" had a definite meaning in street lingo around the turn of the century, and that was copulation, as in "to jazz somebody." For that reason, I don't find the discorvery of the 1912 newspaper article to be a really big deal, except to indicate that, by 1912, it would seem that the word "jazz" was already being used in different ways as well.

My primary love in music (and art) is blues music in the general sense, including blues-rooted jazz, blues "proper," gospel, and R&B. I understand that as a musical continuum that evolved together, i.e. not as separate entities, but as an organic whole. Sure, there exists jazz with at best weak ties to blues music, especially since the 1970s. I like some of that music too. But the blues-based stuff will also have the top spot in my heart and soul. That is part of my life's breath.

A young Cootie Williams?

No, I didn't know that. An interesting piece of trivia, indeed.

Cecil Taylor, Jimmy Lyons, Sunny Murray

I like all of Pharoah Sanders albums on Impulse! My favorites are probably Karma, Tauhid, and Summun Bukmun Umyum. Black Unity is also quite good.

I have virtually no backlog, but I have another problem that might even be worse. As soon as a pick up a disk, I listen to it. But I have way too many disks that I only listened to once after purchase. Browsing through my collection, I continually stumble on CDs that I hardly even remember, that I haven't played in 5-10 years. If I knew that I didn't like them, I would sell them. But I have no idea.

Like the original post states, it is completely absent on the earlier French CD.

No, thank you. I am not going to that thread. Reading the news every day upsets me enough and, given who is registered here, I have a rough idea of what might be there. The beauty of a PC is that you can click what you want to click. I am not clicking that.

I never really connected with Maneri on the records I've heard. But I heard him live not long ago and was genuinely moved. He is has a truly original approach to the horn.

You are absolutely correct on both counts. The new Columbia remaster is brighter, but a bit more brittle as well.

Thanks, Chuck.

They list an underground recording of Monk and Charlie Rouse from 1951! It would be interesting to hear what they sounded like together back then.

Now that's an interesting piece of trivia! I started listening to Earth, Wind, and Fire with the "Head to the Sky" album. I still really love that record, especially "Evil." That was an original and dynamic sound. But it was short lived. I remember when I first heard "Shinning Star" on the radio. I couldn't believe that it was the same EWF. It sounded to me like a Kool and the Gang ripoff. (It came out on the heels of the incredibly dynamic and underrated "Wild and Peaceful.") But the album "Way of the World" eventually won me over in a big way. When "Let's Groove" hit the charts in 1981, I didn't think to much about it at the time. Now it is one of the first tracks that I reach for when I want to boogie.

Are there still tickets available?

I have a European version.

Palo Alto Jazz Masters (Quicksilver QSCD-4019) 1) Golden Golson 2) One Entrance, Many Exits 3) Chazz Jazz 4) Herbal Syndrome 5) How Deep is the Ocean 6) Blues in 4 by 3 Mal Waldron-p Joe Henderson-ts David Friesen-b Billy Higgins-d live from Menlo Park, Ca., January 4, 1982 Mal, Joe, and Billy. It pains one to think that all three were still with us only a few years ago. Their passing was like the final end of the 20th century for jazz. Here they are together, playing with a very tuned in and sympathetic David Friesen. I couldn't understand why this LP took so long to reissue as a CD. The wait is over. It is also available at a budget price. Pick it up! The highlights are numerous. Mal is somewhere between his percussive, driving 70s work and more melodic late 80s-90s stuff. For me, Mal Waldron will always be one of the truly individual voices on the piano. Billy Higgins, as always, keeps it together and gives the maximal amount of support to everyone else (did he ever have a bad night?). David Friesen had been playing a lot with both Waldron and Henderson at the time, and knew where he was at all times. And Joe... what can I say. If you have never heard his solo on Herbal Syndrome, you haven't HEARD Joe!!! The price is right and the music is fantastic.

Ghost: Did you get Birth and Rebirth from Cybermusic? I tried to buy it too, with no luck!

Most often it's probably Lester Young, along with Monk, Pops, Miles, Coltrane, Billie, Bird, Basie, Ornette, Jug, Criss, Mingus, Hill, Pepper, Blakey...

Listening to Bill Perkins, the word "beautiful" continually comes to mind. His sound was genuinely beautiful. RIP

Jazz in Film is VERY nice! Wandering Moon had some fine moments as well. I'm looking forward to hearing the new one. Among "new lion" trumpeter/composers, Blanchard never received quite the kind of hype that Hargrove and Payton did, let alone Marsalis. Ironically, he may be amassing quietly the most impressive discography of all of them.

Actually, for me, the Prestige box runs a close second to the VV box. I listen to that one all the time and, interestingly enough, much more than the Atlantic recordings. The historic importance of the Atlantic recordings is beyond dispute. For some reason, however, I am more often in the mood for relaxed blues a la vintage Trane with the cream of hard bop/soul jazz musicians than the more ground breaking Atlantic stuff. On the other hand, ask me next year and...

Welcome, Ron! I really enjoyed interacting with you at Jazz Corner from the get go. I remember the time back then when it seemed like ever other thread was initiatied by you. You were instrumental in getting that BBS on track. ( Actually, I was one of the few registered people at Jazz Corner long before Jazz Central Station bit the dust.) This is a great site for discussing a lot of jazz topics that currently generate much less interest at JC, particularly those having to do with jazz history. Stick around. John P.S. We love Jim Pepper here too! RIP

I'm getting 4 out of the 5 that I ordered. Great disks and great prices!