The Magnificent Goldberg

Not an entire session, because two LPs were made at one, but Trane played alto sax on all the tracks on which he was featured on the Gene Ammons LPs Groove blues - Prestige The big sound - Prestige (Three out of four on the first, one out of four on the second) MG

Bill Heid - Air mobile - Doodlin' John "Broadway" Tucker - Impromptu blue - Blue Movie Johnnie Bassett - Bassett hound - Cannonball Bill Heid plays piano throughout all three of these albums. Sonny Stitt - Night letter - Prestige Sonny Stitt - Turn it on - Prestige Sonny Stitt & Jack McDuff - Stitt meets Brother Jack - Prestige on these - and numerous sessions with Gene Ammons, Sonny plays only tenor sax. And I think there are some Gene Ammons sessions in which Sonny plays Baritone throughout. And some Stitt sessions in which Jug plays baritone throughout. But I can't be asked to document these David Newman & Ray Charles - Fathead - Atlantic Ray Charles in Person - Atlantic Ray Charles at Newport - Atlantic Hank crawford plays only baritone sax on all these albums. Calvin Newborn - From the hip - Rooster Jazz Hank Crawford plays piano throughout. Shirley Scott - Blues everywhere - Candid Shirley plays piano throughout. Jack Wilson - The jazz organs - Vault Wilson on organ throughout. Johnny Lytle - Everything must change - Muse John Patton plays electric piano throughout. Helen Humes - Tain't nobody's biz-ness if I do - Contemporary Benny Carter on trumpet throughout. That'll do for now. MG

Last night Rev W Leo Daniels - Quit talkin' to yourself (sermon) - Peacock (ABC repress) MG

Thanks - so this label must have started after Ozzie closed down his own label. MG

Rev W L Jones - It might have been good not to touch (sermon) - Randy's Spiritual Record Co, Galatin, Tenn Great sermon from 1971, datable because of quote from Betty Wright's "Clean up woman". MG

Harold Alexander Monty Alexander Arthur Alexander

Eddie Kirkland - It's the blues man! - TruSound (Red Lightnin') Jimmy Witherspoon - Midnight lady called the blues - Muse (France) MG

aka The Zapruder Sessions... Huh? MG

Lawrence "Tricky" Lofton Jack Teagarden Kid Ory

Alvin "Red" Tyler - Heritage - Rounder (UK) Stanley Turrentine - Ain't no way - BN Rainbow Stanley Turrentine - Easy walker - BN (UK) MG

Have not issued it on cd yet. Not sure if I have one or two lps left. On the road so I can't check now. No rush, Chuck. I'll PM you after Christmas. MG

Captain Marvel Captain & Tennille Captain America

I think that's true, Bebop. It depends to some extent on where you live. In the South Wales Valleys something like ten percent of the population seem to be members of rock groups - I was told by an authoritative source a few years ago that there were about 1,400 groups in the Ebbw and Rhymney Valleys alone. So the makeup of live performances is unlikely to favour Jazz, Blues, Reggae, Gospel, Mbalax or any other kind of African music, even to the extent of one gig a year. MG

Terence Stamp The Lettermen The SInging Postman

Jump 'n Jive (http://www.jumpnjive.co.uk/) The Jivers The Jive Bombers

He's also on Johnson's new Delmark side. And that vinyl is not to be missed by fans of big-toned old-school tenor. Recommended. Well, I've missed them! But glad to hear about them now. Chuck, what's the score on your Eddie Johnson album? CD, LP or zilch at present? MG

I can't answer, 'cos I'm in the same boat myself. Only one I've got is the first JATP with Jacquet, McVea, Cole & Les Paul. There are no circumstances under which I'd part with that one. But, as for the rest... well, I'll see what people say MG

More Swing! More Latin (-American and -African)! More Township Jive! I'm only scratching the surface of all these musics so far, lots more exciting stuff to explore. More live music! Planning a trip to America in the spring, so I expect to get in at least one gig - which will already be more than this year MG

Johnny Adams sings on one or two cuts of an LP I have by Alvin "Red" Tyler. I'll pull it out and have a particular listen. MG

Black Moses The Black Baudelaire Big Black

I may be missing your point, Larry, but it seems to me that jazz HAS to be both at the same time. It has to represent the community and ALSO to be a personal expression. Failure to do both together leads, on the one hand, to ivory tower-ism and the need for a charitable grant and, on the other, to Najee and Gerald Albright. In both cases, the musicians rely on suits for their income - different kinds of suits, I'll agree, but one kind's no better than the other. But there always was - and I think still is - a wide variety of musicians doing both, from Trane to Gator Tail, Von Freeman to Gloria Coleman (to ensure that those still around aren't missed out ). These musicians were/are all a part of their community and their voices are both their own and the voice of the community. But, as Thompson said, there's no prescribed way to do it. Gator is no more right than Trane; Von no more right than Gloria. MG Thomson is talking about something else altogether, as I understand him. But first let me put his whole quote back up: Distinguishing between an “objective” music in which one can “represent other people's emotions” and a “music of personal lyricism”(which would seem to be the kind of art that jazz is), Thomson goes on to explain that “you can write or execute music of the most striking evocative power by objective methods, but you cannot project a personal sentiment you do not have. If you fake it knowingly, ; and if you fake it unknowingly, you are, merely by deceiving yourself, attempting to deceive your audience. Naturally, experienced persons can teach the young many things about the personalized repertory. But there is no set way it must be rendered, and any attempt to impose one on it takes the life out of it.” My understanding is that what Thomson means by an “objective” music in which one can “represent other people's emotions” is a music that is some essential ways dramatic -- like all opera and oratorios or Beethoven's Egmont Overture or Strauss's Don Juan, or Sibelius's Finlandia or his Tapiola, or Debussy's Le Mer and his piano pieces or Ravel's Gaspard de la Nuit, etc., etc. -- but in which the emotions being conveyed and evoked are not essentially personal to the composer but represent what the characters are feeling or the mood of the more or less dramatic situation/story/external states of mind being portrayed. A "music of personal lyricism," on the other hand, is just that, a music in which one has little doubt that the sentiment being expressed is that of the composer/player. From Schumann on, examples abound, and in jazz it is the norm, though not with every performer -- a figure like Jelly Roll Morton or Coleman Hawkins, not so much or not as directly; a figure like Ben Webster or Lester Young, very much so. And as Thomson says, you cannot "project a personal sentiment you do not have" (by "project" here, I think he means "dramatize" for consumption by others -- i.e. you must transmit it "directly" ("it" being the personal lyrical sentiment) because you yourself feel it. If you don't feel it but have mustered the "objective" means of representing that sentiment that is the expression of another person, you're either knowingly faking or unknowingly deceiving yourself. To bring this back to jazz terms, think of (off the top of my head) Harold Land. As with most talented jazz musicians, he has a readily identifiable style or styles (the way he played changed some over time), but one always felt that what Harold Land played essentially was Harold Land. Now if you were influenced by Harold Land in the course of your own development as a man and a musician, that would be one thing -- his self and soul reaching out to your self and soul, or probably vice versa. But if you chose to take the forms of Land's personal lyrical self-expression and, for whatever reason, re-create them objectively and more or less externally, without placing your own self on the scales or in the mix, you might be precise as heck with those objective externals, but you will be "dramatizing that which should be transmitted directly" -- either by Land himself or by a you who has put his own self in the balance. I know -- these terms and this talk is probably getting too verbally vague to be of much use. Bur it's the best that I can do right now. Thank you Larry. I did, at the time, when Land, Frank Foster and a number of other musicians got "Coltrane retreads" think that they were doing just that; taking Trane's personal self-expression and recreating it. But after a while, I realised that they were only taking on the methodology but still being themselves. And, of course, this is what young musicians DO. The difference re Trane's ideas is they affected a lot of already mature musicians. MG Edit: And now, in the light of that, consider this interesting thread about Obama's speechwriter http://www.organissimo.org/forum/index.php...c=48741&hl= MG

It's been a different kind of year for me. Had it not been for Dan Gould's sales in September and November, I'd have bought comparatively few Soul Jazz albums. I've placed the focus this year on three kinds of music I didn't have all that much of. Swing I began to get a bit more into swing last year and that culminated with buying the Lionel Hampton Victor recordings Mosaic box in December. I've listened to that a HELLUVA lot this year and it's set the tone to a large extent. Three Lucky Millinder Classics covering 1941-1950 in January, and the Roy Eldridge Verve Mosaic box in the summer emphasised that. But I thought I was still only scratching the surface, so I went on a little swing binge last month, too and got a box of Fletcher Henderson, a couple of the 9 CD set of Teddy Wilson's Brunswick recordings, the first of three by the McKinney's Cotton Pickers, and the Prez Keynote sessions. Wow! ALL of this stuff blew me away completely! (Which is not to say that it's all good, but there's so much material that IS good in there.) Latin-American and Latin-African I moved a bit beyond Mongo and Pucho, starting off with Cal Tjader, which I've enjoyed a lot. Then another binge in November moved me into Eddie Palmieri, Ray Barretto and Tito Puente. To me, Puente is much lighter than the others, looser, more relaxed and I like this a lot because it's a step or so towards Latin-African, which is VERY LOOSE INDEED! And in my November binge I managed to find a number of early (sixties and seventies) Latin-African albums I didn't know about. Township jazz/jive About half of my South African, non Reggae, albums have been bought this year. Robbie Jansen recent albums have overwhelmed me. But the historical material by Ntemi Piliso has also made a big impact on my understanding of the different threads in this music. Zacks Nkosi rules, however. And of course, Concha Buika released a new album this year. And it's her best, I think. MG

I've heard that, too, and it sounds extremely plausible. And also accounts in large part for WM's distaste (perhaps a stronger word is needed here) for minstrelsy. But your side is right too, because it's ambiguous, as Jim said. But there are some very interesting parallels that have just occurred to me with modern behaviour in Africa under present day corrupt, incompetent and oppressive governments (but also the colonial governments). Faced with what apparently cannot be changed, people have developed their own agendas and have largely opted out of the state. It has helped, for example, that no border in Africa can be policed, so smuggling has become the normal mode of trade. And in other fields, similar solutions have been and are being found. And there are signs that it is beginning to be found that there can be (economic and other) development without government (Somalia seems to be in the lead). MG

I may be missing your point, Larry, but it seems to me that jazz HAS to be both at the same time. It has to represent the community and ALSO to be a personal expression. Failure to do both together leads, on the one hand, to ivory tower-ism and the need for a charitable grant and, on the other, to Najee and Gerald Albright. In both cases, the musicians rely on suits for their income - different kinds of suits, I'll agree, but one kind's no better than the other. But there always was - and I think still is - a wide variety of musicians doing both, from Trane to Gator Tail, Von Freeman to Gloria Coleman (to ensure that those still around aren't missed out ). These musicians were/are all a part of their community and their voices are both their own and the voice of the community. But, as Thompson said, there's no prescribed way to do it. Gator is no more right than Trane; Von no more right than Gloria. MG

Thanks from Bev and me, Jim. MG