John L

Now that's a good deal!

Disagree. Curtis was not known at all at that point beyond Detroit. Assuming the 1956 date is correct, Pepper didn't have a national reputation yet either, since he didn't join Kenton until right after that session and hadn't made an impact on record yet either. Meanwhile, P.C had been in New York for at least a year and he and Trane were with Miles. Cuscuna tells me has not more info on this (other than what's been repeated above), as he "hit a wall" on this particular issue years ago. Thanks. My bad. I don't know why I was thinking that Fuller and Adams had already established their reputations in the mid-50s.

It makes sense that it could have been Curtis Fuller or Pepper Adams' date, as Coltrane and Chambers were not nearly as well known at the time.

I only know Osaka. Are there others? I don't know about Osaka, but there is another concert from Tokyo and one from Kyoto. They were recently released on CD by Domino is this package

Do you think so? I would think that it is likely. The current trend in commercial CD box sets seems to be reissuing the same remasters at a cheaper price in a cheaper box. That is what I would expect in this case. If not, then it may be a pleasant surprise.

Yes, especially the second disc! (Orange Was the Color, So Long Eric, Peggy's Blue Skylight)

This should be a very nice set. The Armstrong recordings from these years belong together. They make up a single whole in his musical development, and it never got any better. On the other hand, I wonder if there is much they can do with this music sonically that hasn't already been done.

Stereophonic? More like electronically reprocessed to simulate stereo (I only typed it once. So it had to be echoed off of itself to create the effect)

Her style in lingerie is pretty nice. Her style in lingerie is pretty nice.

Great news about this release!

OK, I was looking at the Tom Lord discography and things seem to be getting clearer. 1) The first "1959" Dragon LP release was really the 1960 concert with Bobby Timmons (as Brownie indicates above). This was later corrected to 1960, which most likely explains why Brownie was under the impression that there was only one concert. 2) The Dragon CD release of the 1959 concert was indeed the 1959 concert, a different concert. 3) The CD release of the 1960 concert would indeed appear to be on Japanese DIW, not Dragon: (JAP) DIW-813 or DIW-25014, and also Secret 479002.

I have the CD, although not with me here. I can give you the catalog number in three weeks.

Those actually are two different concerts. The 1960 concert (December 6) has Bobby Timmons on piano, as opposed to Walter Davis Jr. who was filling in for the '59 tour. The 1959 concert was from November 23. They played Lester Left Town and Night in Tunisia at both concerts. Otherwise, the songs were different.

I would say "yes" and "no." If you listen to tapes of live concerts that Muddy made in the 60s and 70s before he hooked up with Winter, you will hear that the gritty sound was still there in full. The problem was that producers were no longer allowing Muddy to record that music in the studio until Blue Sky and Johnny Winter came along.

Stevie Ray Vaughan became an inspiration for a whole generation of blues/rock guitar players, for better or worse, in the 90s and beyond. How many of those qualify for the title "bluesman" can be debated. Muddy Waters already began "stepping back" in the mid-1950s when Willie Dixon began producing him and providing him material. It was at that time that more modern R&B influences entered the music as well. In fact, ironically, Muddy plays more on the albums with Johnny Winter in the 1970s than he did on the last recordings he made directed to the black American market in the late 50s and early 60s. On those recordings, Muddy often put his guitar down altogether.

I think that most major bluesmen in the post-WWII period show a strong influence of R&B. It is true that the early Muddy Waters had stronger roots in Delta Blues and earlier Chicago traditions. But if you listen to the early recordings even of Sonny Boy Williamson and Howlin' Wolf, you will hear a lot of R&B jump feeling, as well as a judicious use of 9th and passing chords, that show a strong influence of the type of R&B that was emerging in L.A. at the time. Of course, T-Bone Walker himself was one of the fathers of that sound. Many of the last generation of true bluesmen, who came of age in the late 50s-1960s, were strongly influenced by Soul (the sanctified sound) both from jazz and R&B. Maybe that is part of the distinction that you are getting at. The influence of rock was weaker back then, but become stronger in the 70s and 80s. Jimi Hendrix and Stevie Ray Vaughan were highly influential for blues guitar players in that regard.

While my personal preferences for Sun Ra are fairly similar to those of Jazzbo, these Art Yard releases of generally of very high quality, some of the best work of the Arkestra of that vintage (IMO).

Interesting. Thanks. There was a lot of recycling of blues lyrics back in those days. I just realized not long ago that Leroy Carr's most famous composition "How Long, How Long Blues" is a basically a recycling of a song recorded earlier by Ida Cox of almost the same name: "How Long, Daddy, How Long." There are a number of country blues songs usually celebrated as original compositions that are actually covers of tracks recorded by the classic blues singers in the 20s.

Very good choice for the next bootleg series!

RIP. That man had a SOUND.

Then there are people like Bird and Newk who take a vertical and horizontal approach at the same time.

I saw it around record stores (when they still existed not long ago) at ridiculously low prices. I paid a high price for it a long time ago.

Yes, "of" is a preposition, not a participle.

Thank you for setting up a corner for Mr. Queen! Count me as a fan. I jump in my seat when I hear him live.