Hot Ptah

I own the Mary Lou Williams and George Cables albums but just did not remember them. There was a lot here which I had never heard--but I want to hear more. Thanks for a great BFT!

I feel cheated! I paid for the 65-minute version! I know how you Grateful Dead live show collectors enjoy your 65 minute versions!

Yes!

My copy of Sun Ra's "Lanquidity" has written on it in magic marker "WORT--DO NOT REMOVE." WORT-FM is Madison, Wisconsin's not for profit community radio station.

He had the same type of look on his face as he had to walk down the center aisle of the audience seating area, before and after a performance in a small hall in Ann Arbor, Michigan in 1981. It was an angry look, rather scary. I have never forgotten it. He had John Purcell, Chico Freeman and Peter Warren with him for that performance, and played great.

I would like to participate as Thom's BFTs are always excellent. I will need a disc.

I grew up with a Magnovox Astrosonic console stereo in my parents' living room.

Consuela Lee Morehead is a fine jazz pianist. During Richard Davis' first school year as a music professor at the University of Wisconsin, 1977-78, he featured her in a trio performance gig at Bunky's, one of Madison's leading music clubs at the time. Consuela was consistently swinging, inventive and soulful in her piano playing. It was a memorable concert. Which Richard Davis LP do you not have? I probably have it and will read the information on it for you.

I like #5. One of the things I enjoy about Blindfold Tests is the ability to learn about specific recordings in pre-bop jazz. Through online research, I think #5 is Doggone I've Done It, by the Dorsey Brothers Orchestra, vocals by the Boswell Sisters, and violin solo by Joe Venuti, on the Brunswick label. My online source provides this instrumental personnel: Bunny Berigan--trumpet, Tommy Dorsey--trombone, Jimmy Dorsey--clarinet, Joe Venuti-violin, Martha Boswell--piano, Dick McDonough--guitar, Artie Bernstein--bass, Stan King--drums

Eh..COULD be..! I actually pulled this from a 1994 ECM CD release of this one though (cat no. 841 124-2), don't have the original vinyl. This is the vinyl album I know it from:

I love #12, which is Communications #9 by the Jazz Composers Orchestra, the silver 2 LP set, with Larry Coryell on guitar. Am I right?

On AllAboutJazz today, information was posted on how these pages from Clark Terry's phone book came to the internet. Dr. Demsey says that no one on the pages is alive, but Richard Davis is alive: "Hi Dan, Thanks for letting me know about this - but, this image (or a better version of it) is slated to go up on the new website [I don't know which site he's referring to] when it goes up this fall. I've already checked this with Clark and Gwen Terry, and it's not really a privacy issue because none of the people on these pages are alive. If someone's nutty enough to call one of these numbers to let some poor person know that they have Miles' own number, I suppose there's nobody stopping them. Overall, though, kind of creepy that one of our recent visitors this summer snuck a picture of this and posted it. Thanks for letting me know, DD Dr. David Demsey Coordinator of Jazz Studies Curator, Living Jazz Archives Professor of Music William Paterson University"

Chris, I think you underestimate the interest in these books among those not in the business. I would encourage you to post the entire pages, of every page of your books. I think that there would be immense interest in them.

I am curious where this image came from. It has been posted on several online music boards and on Facebook posts by several people, and probably in more places online. Does Clark Terry know that it has been posted? Did he give his consent? What does he think about it being posted? Did someone go through his things improperly and take a photo on the sly? I hope not.

I have now seen this in several places online today. I have not read about who originally posted it and how they gained access to the book. Has anyone read about that?

Ruggles of Red Gap The Senator Was Indiscreet The Lady Eve Duck Soup--Marx Brothers To Be Or Not To Be (1940s version with Carole Lombard and Jack Benny) Unfaithfully Yours (1940s version with Rex Harrison) Just about every Buster Keaton film

I have not heard of any of the artists so far either. I come to the BFT to learn, and to enjoy. Both were fulfilled with this excellent BFT.

Couldn't have put it better myself MG Thank you. The obvious is lost on many here. I have received great pleasure from Facebook in reconnecting with old friends who I knew decades ago, but lost touch with. They have now become some of my closest friends again. This has added to the quality of my life very significantly. It would not have happened except for Facebook. One can be glib about dismissing something, and ridiculing others, but there can be more than one credible way to look at an issue.

I will need a disc.

Jeff, I see that 2013 is filling up fast. Can you put me down for November or December, 2013, please?

Nine out of ten dentists recommend that Tyner album to their patients who chew gum. That is very funny!

This is my kind of music! This is just the stuff I really like. I have not been able to identify anything yet, but I am listening repeatedly and will have some impressions soon. I love the opener, it really grabs me with its energy. I like #7 too. But then, I like every song on this BFT.

I liked the Mahavishnu Orchestra's Inner Mounting Flame and Birds of Fire. I could not appreciate or enjoy acoustic jazz until I heard McCoy Tyner's Trident album. During my first listen to Side One of Trident, the doors flew open.

The Art Yards are definitely avant garde jazz albums. They are not the most difficult works ever recorded, but no one would mistake them for sets of mainstream tunes. The 1950s albums reissued on Evidence and Delmark feature short, standard song forms, in a mainstream jazz setting--with unique touches, to be sure, as after all this is Sun Ra. I think that someone who likes mainstream jazz would enjoy the Evidence and Delmark 1950s reissues, and might enjoy the Art Yards about as much as they would enjoy the Anthony Braxton Arista Mosaic set.

I think that the Art Yards are a fairly challenging set for a Sun Ra beginner. I agree that the 1950s reissues on Evidence and Delmark are the place to start--Sun Song, Sound of Joy, Supersonic Sounds, Jazz in Silhouette, Angels and Demons at Play, Nubians of Plutonia, Fate in a Pleasant Mood, Visits Planet Earth. I have also found that those new to Sun Ra often like a later Evidence reissue, Lanquidity; an Inner City album, Cosmos, and the IAI label solo piano albums, Solo Piano, Vol. 1, and St. Louis Blues.