danasgoodstuff

Cecil McBee (on that BN LP with Shorter, among other places) Art Davis Steve Davis (Coltrane Plays the Blues) Wellman Braud Adrian Rollini (it's a role, not an instrument, IMHO) tuba player with the Dirty Dozen whose name I'm forgetting Duck Dunn James Jamerson Tommy Cogbill Bernie Odem (and charles Sheril and a bunch of other guys whose playing with James changed things) Paul McCartney (as the Mono Beatles box makes totally clear)

Interesting choices, as always, and some potential vote splitters...

glurge http://www.urbandictionary.com/define.php?term=glurge

Meade Lux Lewis, Honky Tonk Train, the version on Bluenote

Yes, but Ebola is the new threat and the flu has always been there...

Haven't we discussed this before? Typical contemporary crap: selfcentered, revelling in its own ignorance, utterly pointless. except, she kinda gets it, despite herself - except for Ghosts, Alberts tunes are more gestures than tunes- and that is kinda interesting, both the thing itself and her kinda getting it, but I still find her totally annoying...

nice coat 'n tie

I got John Patton's Blue John from my local Bricks 'n Mortor and the +5 are nice but they definitely went for the greasiest stuff on the original, and we'll probably never hear the 2 that are left now.

I have a number of LPs stamped "Stolen from Brother Ben", a Magic Sam autographed across the label (the sleeve is missing, I bought it in another sleeve) and I gave my brother a copy of the deluxe dbl CD of Howlin' Wolf London Sessions with an efuusive dedication from the producer, Norman Dayron, to his then new neighbours...

Has Rice been charged with a crime, if not - why?

Mr. Hawkins plays nicely on the session under Henry Red Allen's leadership for RCA, as does everyone else on it, IMHO YMMV, etc.

It was Clark Gable and Gary Cooper that owned the two Duesenberg SSJ roadsters. thanks for the correction, lovely vehicles they are!

As to the second point, probably not, but how can we say? As to the first, again, this is not an avant garde vs. mainstream thing. Josh Berman, Keefe Jackson, or Mike Reed are not working in strictly avant garde contexts. Neither is Sylvie Courvoisier, nor Tarbaby or Trio 3, nor Nicole Mitchell, Steve Lehman, Tony Malaby, Angelica Sanchez, Wadada Leo Smith, Dennis Gonzalez, Harris Eisenstadt ... It's a question of accurately representing the landscape of modern jazz. If you like the new Dave Douglas & Uri Cane record, there's nothing that would scare you away from anyone I listed above. There's no reason to ignore what's actually happening. Shrug. I still don't understand why you believe these guys are making "original music" in a way that Jason Moran is not. Seems like this boils down to "music I like" and "music I don't like". perhaps because the album featured on NPR is a tribute to Fats Waller?

IIRC correctly, Cary Grant and Gary Cooper owned the only two short wheelbase Duessenburg roadsters ever made. Ironically it was these rare cars dimensions that later would-be replicas were based on/off.

I wouldn't be able to label Roach's "Brown Sugar" "good stuff". Boring stuff might be a better descriptor. Brown Sugar is delicious, you're...missing out.

him = Bobby Broom?

The confusion of jazz with standards, and 'just plain' standards with 'jazz standards', is a subject for another day; but TN Waltz is totally a 'just plain' standard and has been recorded by > than a few jazzers too: http://www.secondhandsongs.com/performance/14354

You're not wrong there, but unless you do that it's hard to get a historical perspective. Also, if you say, "well, jazz is just this big mess of stuff that's been played for a hundred years or so and there's not much difference between King Oliver and Willis Jackson, so let's just think of them all together," then it's fairly undeniable that the focus is going to be on the relatively few geniuses among those guys and people are going to pay little attention to the people who may have played a key role for a time in keeping jazz a real career prospect for black youth. And if young black kids don't think of jazz as real music that they can use to pay rent with (and pull birds with), then the whole music dies/is dying/has died. MG As far as Acid Jazz is concerned, that was a term started in England in the early eighties. I guess the magazine 'Blues & Soul' may have been where it originated, or maybe it was someone down on a dancefloor. MG Thanks for the thoughtful response - of course you're right that music of any sort doesn't happen in an economic or social or political vacumn as some sort of pure abstract thing. i guess it's just a matter of where you choose to focus your attention. If I were to focus a little better on this discussion, I might say that there are at least two overlapping but distinct streams of influence - musician on musician v. musician-public-musician, etc. Some figures loom larger in one than the other. And, to be fair, the latter stream isn't all about commerce, it's about self-image too. But it's still more interesting to me to hear King Oliver as funk, despite or maybe even because nobody else hears it that way that I know of.

So being labeled as "Soul Jazz" doesn`t necessarily requiere the artist to play "soulfully"....just curious..... btw if remembering correctly I didn`t state that Dexter Gordon Live in Montreux is "Soul Jazz" but tried to describe the impact of Junior Mance`s playing on other artists and/or recording sessions - this actually in order to answer a question by "The Magnificent Goldberg".... and I was commenting on what I quoted that JimR said - so, no, playing soulfully is apparently not necessary to be 'Soul Jazz', but that's not something I worry 'bout 'cause playing soulfully, i.e. with feeling whether it be expressed in a particularly churchy manner or not, is important to me; contributing to the codification of a marketable genre is not...

Joni is Wheatfield Soul, to borrow a phrase from the pride of Winnipeg. "Playing jazz "soulfully" (e.g., Junior Mance on the Dexter album) does not automatically indicate a "Soul Jazz" labeling." And this is exactly what's wrong with genre centered analysis...

I've worked in two of what I consider the best: Music Millennium here in Ptld, OR and the Electric Fetus in Mpls, MN.

I think it's "Old Joe Clark" but I'd have to dbl check to be sure.

I think there's some meat there, it's just sliced very thinly. I thought that was the way you were supposed to slice meat, if you want a good sammich.

Loved what I've heard, but it's all older, any recent things I should check out? RIP

Marty did some auto racing, IIRC, not sure which inspired which...