Hot Ptah

That is very interesting. Did she sing the children's songs in a conventional sweet voice, as opposed to her screaming style on her commercial recordings? It was funny, in a way, because Yoko described each song in a sweet voice, then rendered it in a deafening, grating manner. Did she express a desire to become a musical artist while she was working in your office, Chris?

That is very interesting. Did she sing the children's songs in a conventional sweet voice, as opposed to her screaming style on her commercial recordings?

I enjoyed the Impulse book. I did not think that I was getting a comprehensive history or anything close, but there were some interesting passages, such as the description of how a group of Sun Ra's early recordings came to be reissued on Impulse in the early 1970s. I had not read such a detailed explanation of that anywhere else.

It might have been this 1968 performance, listed in an online Ornette Coleman discography: Ornette Coleman (tp, vln) Charlie Haden, David Izenzon (b) Ed Blackwell (d) Yoko Ono (vo) "Royal Albert Hall", London, England, February 29, 1968 Emotion Modulation (A.O.S.) Apple SAPCOR 17 Sunrise unissued Forgotten Children - unissued Long Time No See - unissued Lonely Woman - unissued Hight Abhbury - unissued Buddha Blues - unissued

When I took jazz history from Richard Davis at the University of Wisconsin, he told the class that George Duvivier made every recording session that he was ever on, sound better.

It is my perception that once a jazz musician says that he or she is really a "classical" musician, as in "jazz is America's classical music", any hope for a smidgen of commercial success is gone--unless public subsidies are considered commercial success. If you want to alienate young listeners, and many older listeners who might be mildly open to jazz, just call yourself "really a classical" musician. That will be the death knell of album sales and concert ticket sales, as popular music fans won't dream of checking you out, and classical music fans won't accept you either.

john hurt hurt as hirt hurt hurt

Harry Kim Neelix Chakotay

I recall that when he left the Kansas University Medical Center, where he was hospitalized for his heart problem, it was reported that he was going to live with family members in Pine Bluff, Arkansas. A quick Google search of "Clark Terry Pine Bluff" reveals that he has been reasonably active in Pine Bluff since last spring, when he left the hospital in Kansas City.

This is a release of his music on David Grisman's label, Acoustic Disc. I do not know where it fits into his overall body of recorded work, but I find it to be very fine listening.

I saw Chuck Mangione live in 1977 and was struck by how well his saxophone player soloed. Niewood played a lot of soprano sax that night. He took the concert to another level, beyond the famous, commercial tunes which the fans were happy to hear. He was a fine player.

Your link doesn't link, and it doesn't work when typed into search engines. How can we read your list?

I have a precise reproduction of the front and back cover of "Bitches Brew' tattooed on my chest; the front and back cover of "Big Fun" tattoed on my upper back; the front and back cover of "On The Corner" tattoed right under it; and the front and back cover of "Live Evil' tattooed around my left thigh.

I can attest that he is widely viewed within the knowledgeable polka music community as a giant, the way that Louis Armstrong is viewed within the knowledgeable jazz community. His band was the greatest thing out there for many years, for a large community of dedicated listeners, who knew the difference between quality polka music and music of little quality.

That looks promising. That was a good era for Sun Ra live.

Oh, don't be so hard on yourself. With Ra, after you get past your 200th album, you no longer feel nuts about it.

Doug Hart Tom Brown Hank Gremminger

Rico "Beeg Mon" Carty Eugene "Big Daddy" Lipscomb Frank "The Big Hurt" Thomas

Mary Lou Williams released several good albums in the 1970s. My favorite is "Free Spirits". The "Roy Eldridge Big 4 At Montreux" (on Pablo) is a really good album. Count Basie's Pablo output was often quite good. I really like his "Satch and Josh" with Oscar Peterson. Harry "Sweets" Edison recorded some good albums for Pablo. My favorite is "Edison's Lights". Jay McShann recorded a series of excellent albums in this period, including "Kansas City Hustle", "Last of the Blue Devils", "Man From Muskogee" (with Claude "Fiddler" Williams). Benny Carter released some albums which I think are great, including "Montreux '77" on Pablo, and three albums in the 1980s: "Over the Rainbow", "Central City Sketches" and "A Gentleman and His Music." I really like Jess Stacy's 1974 album, "Stacy Still Swings".

Also, the only time I ever saw James Carter live when he was really good, Claude Williams was sitting in the front row of the club (the Drum Room in Kansas City, April, 1996). James Carter saw Claude there, a few feet from the stage, and dedicated the set to him. Carter played a no nonsense set that was often quite exciting, at a level above everything else I have ever heard from him.

I got this Black Jazz LP, in mint condition, for $4.98 at Half Price Books.