The Magnificent Goldberg

Are those the stairs out of some jazz club? MG

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Sonny Cox & the Three Souls - Dangerous Dan express - Argo (repress with Cadet label) No bass player on this one, their first LP. But a bongo player MG

Aunt Hagar W C Handy Thomas Crapper

Jack Good Badfinger Ivan the Terrible

I'd love to know what they are. I have all the Double Time ones Hank did in recent years. Hank was one of my teachers, too. We sure miss him here in Columbus. As you guessed, they're the ones he made for Double-Time with Hank and Freddie McCoy - Listen here - Prestige PR7582 - never reissued on CD MG

What an interesting article! I had no idea! I've loved Sonny's music since 1970, when I found "The wailer" in Dobells. He has a sound like no one else; on some tunes, almost strangulated. I wish he'd recorded more than 3 albums. MG

It is very strange to me to hear that there are people who think that "By the time it got to the birth of the "blues", all we had was tabula rasa colored folks on which to skeet all our melting pot American jizz of everything but Africanisms." That's ignorant and stupid. Ignorant because any wide listening of West African music can identify much that DID get transferred, sometimes almost intact. (I met a lady in 2002 who was a senior person at the Senegalese copyright office, and in her private life a member of an informal research group looking into these transfers - unfortunately neither my French nor my musical education were up to me joining in.) Stupid because to imagine otherwise flies in the face of rationality. But I suppose that is what it's all about. MG

I'm reminded for some reason of this thread, which posed an intriguing if somewhat slippery question. Good one, Paps. It is a slippery question, though. I might not ask it now. The social situation in which music is made determines the language used and the meanings of it. One might say that music is something that society does through the agency of musicians. So the existence, in the twenties to fifties/sixties, of a thriving jazz scene enabled musicians to play before attentive audiences with their peers, or even with master musicians, and learn from both peers/masters and audience how to develop their playing/skills so as to get through to people who didn't have the musical education to appreciate their skills as such. But those same players couldn't develop into Country & Western musicians or Soukous musicians, because those scenes weren't available to them to develop in (had they wished to). For example, Dexter Johnson, a Nigerian sax player, went to Senegal in the sixties to try to popularise Highlife. But he couldn't - he had to work within the scene that existed in Senegal, which was Latin music, and he started the Star Band, which eventually became the leading band in developing Mbalax, by which time it was known as Youssou Ndour & les Super Etoiles de Dakar (without Dex). In order for such things to happen, the scene has to have a certain weight, or there cannot be enough work for the learning interactions between peer/master musicians and audiences to take place with sufficient frequency. That weight is given by society - in particular, by the existence in society of a lot of paying customers for whatever music it is. Music is local. We're all human, so there will be similarities between different locals. But perhaps not as many as we like to think. Why is so much music from almost all the parts of Africa with which I'm fairly familiar concerend with politics? (97% in Senegal.) Why is so little western music concerned with politics and so much concerned with ideal love? Well, what's the point, in a polygamous society, of writing songs like "It's you or no one"; "My one and only love"; "Night and day"? But in a monogamous society, these songs (and poems, plays, films, novels etc) reinforce that status quo, so in a way, they ARE political. But they are not understood by western society as such. But they might well be understood by West Africans that way. MG

Betty Grable Rita Hayworth Legs & Co

Sailor Vernon Paul Vernon Mike Vernon

Clare Fischer - Surging ahead - Pacific Jazz (Fontana UK mono) MG

There are not simply two ways of looking at this, Dan. There's an in-between position, which is the one Rapidshare appear to take; they make it difficult, but not impossible, as several people have said here, to use the free service. If you don't want to pay, you have to put up with the inconvenience; it used to be a little bit inconvenient, now it's a lot more inconvenient, but still not impossible. I don't think this is an unreasonable attitude (ie one that no reasonable person in the world would take) for a firm to take. There are other providers of this service. They get cash from showing you adverts while you're waiting (but you don't have to wait long). RS doesn't, I think, show you ads (except for its prenium service). You don't pays your money and youse can still take your choice. MG

Lenny Henry Lonnie Smith Linnie Meister (beat that!)

and one of my all time favourite albums MG

"Rew mi Senegal" by Canari de Kaolack, from untitled K7 by the band. Beautiful relaxed feeling, very different to other early Mbalax recordings. MG

I got a 34, but I said that I didn't play video games. Actually, I believe that pollsters consider you to play video games if you play solitaire on the computer, which I do every time I am on the computer. MG, Ann Coulter says that moderates are people who are too stupid to have figured out by now whether they are liberal or conservative! So even someone as bitchy as Ann Coulter doesn't think there's anything else... MG

Yeah! The Jaws and Shirly Prestiges would make a good box. So would the Jaws & Griff Prestige/Jazzland/Riversides. But there's no additional material to include so, if you got them all, you've got it all. MG

Struth! MG

Yes. MG

Now had an opportunity to have a look at those - Thanks for sharing them. "Martin's rhumba" reminds me very much of a boogie written by Hadda Brooks in the late orties - "Bully woolly boogie" I think, though I can't be sure at present. MG