Hot Ptah

I'm looking at it now, & I'm guessing Ann Arbor, for no reason other than just because. I'm guessing Germantown, vicinity of Morton Street. Very doubtful. Magic City was released in in 1965 and they didn't move to Germantown until September of 1968. Yes, but the Impulse reissue of Magic City was not released until the early 1970s. Those 1970s Impulse reissues used photos and artwork from the early 1970s, with no attempt made in most cases to use photos and artwork from the time that the album had been originally recorded. There is an account of how the albums came to be reissued on Impulse in the early 1970s in the "House That Trane Built" book about Impulse Records.

Has Marty Nau been mentioned?

Oh? I thought that the initial probationary period was 5,000 posts. I thought I read that in the Manual.

Thanks for the lists, MG! I will bring them with me to the Half Price Books stores when I go shopping.

I have heard a lot of Marcia Ball's recordings and have seen her live. As a New Orleans classic R&B style pianist she is quite good. I wouldn't call her a jazz musician. I like her music. If you are a publicist of some type for her, your over the top presentation in your first post here is not going to impress people on this forum.

"Potpourri of deviled tunes" I feel hungry even as I sniff the air for a nice scent.

Danny Tartabull Jose Tartabull Jose Santiago

We are fortunate in Kansas City to have his "Tracer" as a permanent part of the collection at the Nelson-Atkins Museum of Art.

With regard to clementine's type of attack on another member here, I don't care who it is or why--I hate this stuff and it has no place on any online forum. Jazz Corner Speakeasy featured this kind of personal attack regularly.

Oddibe McDowell Sudden Sam McDowell Yosemite Sam

Here is an actual Onion piece on a jazz box set: Five-Disc Jazz Anthology Still Unopened June 11, 2003 | Issue 39•22 LOUISVILLE, KY—A five-disc jazz-anthology box set, lovingly assembled to give novices an appreciation and understanding of the uniquely American art form, remains unopened nearly two years after its purchase, sources reported Monday. "Yeah, I should really give that a spin one of these days," said Marc Bergkamp, 29, who in July 2001 purchased Ken Burns Jazz: The Story Of American Music for $69.99. "I just haven't had the time to sit down and go through it. I was thinking about putting it on this weekend while I clean my apartment, but jazz isn't really cleaning music. I need something a little more rocking, like The White Stripes or something." Bergkamp purchased the deluxe box set after watching a portion of an episode of the 10-part, 19-hour Ken Burns Jazz documentary on PBS. "I'd always meant to buy more jazz, but every time I went record shopping, there'd be something I wanted more," Bergkamp said. "Finally, after seeing the thing on PBS, I decided to commit to getting some. I went down to Tower [Records] to get a Miles Davis CD, but there were, like, dozens of them, not to mention all these 40-disc Complete Live At The Plugged Nickel—1965 box sets or whatever. I ended up buying an Ornette Coleman CD, since I knew he's supposed to be pretty important, but that ended up being a total mistake. So a few days later, I went back for the Burns box." Continued Bergkamp: "Even though I haven't cracked it open, I've looked over the list of artists included. It seems like there are some pretty big names on there, people I should really try to force myself to know." Despite his lack of familiarity with jazz, Bergkamp said he has listened to it on numerous occasions over the years. "One of my friends in college made me a mix tape that I used to play while I studied," Bergkamp said. "Unfortunately, she didn't write down any of the people. I'm pretty sure there were a couple of John Coltrane songs on there, but I don't know which ones. Ever since then, if I'm just chilling out reading a magazine, I'll put on a jazz station, but I never really catch who plays what." By purchasing the anthology, Bergkamp said he hoped to broaden his musical horizons, as well as improve his romantic life. "Girls love guys who are into jazz," Bergkamp said. "Knowing about, like, Thelonious Monk makes you look all sophisticated and soulful. Next time there's some chick I want to score with, I'm sure the box set will do the trick, but I really should take off the shrink wrap before I bring her home. I don't want it to look like I bought it just to impress her." Bergkamp said he sees his purchase as a sign of his growing maturity. "I feel like I'm at an age where's I'm too old to just like rock and rap and R&B," Bergkamp said. "I still really prefer it, but to have a few Charles Mingus CDs in your CD collection is a nice way to make you feel like more of an adult. Plus, if I ever feel like listening to something without lyrics, it's there."

Clarence "Clancy" Williams Bart Starr Jim Nabors

The Harkleroad book. from a musician who played with Beefheart for several years, provides a mixed review of Beefheart's musical talent. Beefheart's musical abilities were quite limited, according to Harkleroad. To me, the book is a fascinating study in why a person with talent chooses to be a long-time follower of an authoritarian leader with less talent, while the leader is treating the subordinate poorly. I have seen the same thing happen in the business world and experienced the shock of recognition in reading Harkleroad's book.

This is in some ways a better list of this type than many I have read. In my opinion, its flaws illustrate the futility of making these lists at all. Who is the perceived audience for these lists, anyway? I can hardly imagine that there are scores of neophyte jazz listeners using these lists to assemble their budding jazz collections. To me, this is another one of those lazy space fillers that substitutes for genuine jazz writing. Other examples of this space filler tendency include the ever popular "is jazz dead?"/"is jazz coming back" series of articles (as was pointed out years ago by Gary Giddins).

clementine, Are you Phil Schaap?

Has anyone else read the book by Bill Harkleroad (Zoot Horn Rollo)? It gave me a different perspective on Beefheart. I am wondering if any members have first hand knowledge of anything in this book which is either accurate or inaccurate.

In my opinion, when a poster decides to invent an over-the-top, artificial, deliberately weird-for-weird's sake persona for the purpose of making informed and provocative posts about music, that is often entertaining, sometimes thought-provoking, and sometimes tedious. When the same poster uses the artificially constructed persona to make bitter attacks against other members, that's not cool, in my opinion.

I saw the Monty Alexander trio three days ago and he looks nothing like that photo. His hair and beard are gray to white. He has no dark hair left. They were selling a CD from 1981 in the lobby, and his photo on that 1981 CD looked a lot like the photo which you have posted.

I saw the Monty Alexander trio two nights ago. For his encore, he said he was going to do a medley of Gene Autry and Roy Rogers songs. He did.

Julia Lee--Shake It and Break It John Brim--Tough Times

Don't hire him! I once hired a contractor because he had a portrait of Miles Davis on his living room wall at home and said that he was a big jazz fan. He was untrustworthy and did inconsistent work.

I have that CD. The sound is not that bad and the music is essential.

Now there's a Ra album that's worth reissuing. Omniverse Saturn 91379 Side A: The Place of Five Points West End Side of Magic City Dark Lights in a White Forest Side B: Omniverse Visitant of the Ninth Ultimate Ra-p; Michael Ray-tp; Marshall Allen-as; John Gilmore-ts; Danny Ray Thompson-bs; Richard Williams-b; Luqman Ali-d. West End Cafe, New York - September 13th, 1979 Would like to see that one too! An underrated session. This would also be a welcome reissue, Sun Ra's other album on Philly Jazz beside the classic "Lanquidity": Of Mythic Worlds http://www.the-temple.net/sunradisco/ofmythic.html The back cover of the "Of Mythic Worlds" LP has a photo of Sun Ra's entrance at the 1978 Ann Arbor Jazz Festival. He is seen strumming a metal sculpture. The actual event was more dramatic than the photo indicates, as he surprisingly emerged slowly out of the floor, on a theatrical stage lift, strumming the sculpture, as the Arkestra blasted at peak volume for several minutes before and during his ascension. Many in the sold-out audience of 2000 at Hill Auditorium were spontaneously screaming at the spectacle. Now, that's a groovy story! Would have enjoyed a lot to be there. The Arkestra is giving a week long performance on the ZXZV festival in September this year. That is in Tilburg, Netherlands: http://www.zxzw.nl/ http://www.myspace.com/zxzwtilburg Seems to be a party. The Arkestra was really "on" for the entire 1978 Ann Arbor Jazz Festival performance. I have a cassette tape of the performance, taped off the radio, and if it was released as an album, it would be better than most of Sun Ra's recorded output. It is a much better performance than Discs 5, 6 and 7 of the Horseshoe Tavern set, which were recorded in Toronto, the night before the 1978 Ann Arbor Festival.

When I saw the title, "Sinkhole as Big as 4 Football Fields", I thought that this thread was about Hillary Clinton's campaign.

Why did the chicken cross the road? Sun Ra: It was on the right road but it was going in the wrong direction. It was on the right road. It was on the right road but it was going in the wrong direction. It was on the right road. It was on the right road but it was going in the wrong direction. It was on the right road. It was on the right road but it was going in the wrong direction. It was on the right road. It was on the right road but it was going in the wrong direction. It was on the right road. It was on the right road but it was going in the wrong direction. It was on the right road. It was on the right road but it was going in the wrong direction. It was on the right road. It was on the right road but it was going in the wrong direction. It was on the right road. It was on the right road but it was going in the wrong direction. It was on the right road. Ba, da da da-da-da da DA da. On the right road. Ba, da da da-da-da da DA da. On the right road. Ba, da da da-da-da da DA da. On the right road. Ba, da da da-da-da da DA da. On the right road. Ba, da da da-da-da da DA da. On the right road. Ba, da da da-da-da da DA da. On the right road. Ba, da da da-da-da da DA da. On the right road. Ba, da da da-da-da da DA da. On the right road.