John L

My condolences to you, Bebop.

If you like harmony groups with a strong bottom end, you should certainly check out the Harmonizing Four. The bottom end was always their specialty. You might start with the Vee Jay recordings that feature the incomparable bass of Jimmy Jones.

Damn. You guys make me feel like a drunk.

All the best wishes for your wife.

Now this was an entertaining thread to read! Now I am going to go check and make sure that Spotify wasn't accessing my external hard drive while I was away at work today.

I like the cover!

Blue Train - Actually, given the request and specific comments by 1st press on this thread, I think that the recommendations of Steve Reynolds and others of the European and British free improv are quite appropriate. Certainly, it is legit to point out that Mad Dogs would be an expensive first purchase, but why do we need this kind of nastiness in our discussion?

RIP. What a fantastic sound he had!

As I understand, the majority of these tracks were already reissued by Rearward in their Calypso Blues package. Right?

Yes. In addition to the Cotton Club recordings, there is also the last recording of Clifford Brown (with Sonny Rollins) at the Continental Restaurant from June 18, 1956. it was also released not long ago as Last Concert on a label that we are not allowed to cite here. You should be able to find it.

I had planned to read the Teachout book, but now I don't know whether to read it or avoid it. I thought that his biography of Louis Armstrong was not bad, but this one sounds terrible. I agree with Mejuck's comment about Lush Life. There was a documentary not long ago, inspired by this book no doubt, that almost went as far as to suggest that the "Ellington genius" was something stolen entirely from Billy Strayhorn - as if everything that Ellington accomplished in the 20s and 30s before he even met Strayhorn isn't sufficient evidence to the contrary.

NIce! Thanks.

RIP

No, but you need one to go beyond "A Love Supreme."

It is also due to the fact that Mosaic usually licenses the music for only a limited period of time.

T-Bone Walker, immediately after release.

I think I'll pass on this one.

It would appear that you and I have similar taste in McCoy Tyner. I used to catch McCoy's band at Keystone Korner every time it came to town in the mid-1970s. I am also particularly fond of Focal Point as coming close to what that band sounded like live. The percussive power that they generated could just carry you away.

Sam Cooke: Bring it On Home to Me Robert Nighthawk: The Moon is Rising Muddy Waters: Too Young to Know Bob Dylan: Just Like a Woman Jimmy Rogers: That's Alright Aretha Franklin: Angel Van Morrison: Tupelo Honey Johnnie Taylor: We're Getting Careless With Our Love Rolling Stones: Gimme Shelter Jimi Hendrix: Voodoo Chile to name a few

I'm still excited, although sometimes I work hard to mix it up, change genres, etc. so that I don't start to feel fatigue. There are certain artists, however, who used to excite me, but for whom I now have a difficult time getting excited. I find that very frustrating. For example, there was a time when Stan Getz really excited me. I bought almost all of his records. Now I still enjoy listening to Getz, but I can't get back the real excitement that I used to feel. I listen and think that I should be enjoying this more than I really am.

Sounds very nice!

Back in the mid-70s, a few albums and concerts shook my world so hard that I became a hard core jazz fan. A couple of the first were the Lester Young 1950 live date released on Savoy and Louis Armstrong's RCA recordings. Back then, the packagings were:

So will we ever get to hear the discovered 3 additional tracks from 1936 (alternates of Lady Be Good, Boogie Woogie, Evening)? It's been more than a year now since we heard of them, and nothing seems to be on the horizon.

RIP