The Magnificent Goldberg

But not Cornish Pasties! And who would want to? MG

And what was Iowa's motto, when it was an independent country? I hope you're not suggesting that the EMINENT CHUCK NESSA, poster of this board, is lying about his location in his control panel MG MG, One thing to keep in mind, and I say this all with respect and affection for you--from your desk in Wales, while Western Michigan may look like it is close to Chicago on a map, it is several hours away by car, and a million miles away in character. In fact, Chicago is like another dimension, a huge cosmopolitan city surrounded by a different universe, small town America. A very short distance outside of Chicago, and you wouldn't know that you weren't in the middle of an endless farm. Just across a lil' ole lake MG

OK - second time through with this. At 41:42, Sonny comes on with an ad for the Dells at the Arcadia Ballroom. Backing to this is Groove Holmes. I THINK it's a repeated segment from "Get up and get it". So Sonny seems to have been scratching in '69. You can't hear the disc being wound back, so perhaps it's a tape loop. At 49:37 There's an ad for Pinsky's used car firm. I THINK the backing is the Meters "Ease back". It's definitely that tune, but I've not got the Meters' version (only GG's That's followed immediately by Kenny Burrell advertising Schlitz brew. MG

And what was Iowa's motto, when it was an independent country? I hope you're not suggesting that the EMINENT CHUCK NESSA, poster of this board, is lying about his location in his control panel MG

Me too, I've also reviewed it for Musica Jazz, when it came out... Oh good, I'm glad I'm not the only one. MG

And the other big embarrassment is not getting Shirley! But the most interesting was this. You're absolutely right about these guys, whom I've never heard before (though I know the name Urtregger). Thanks so much for putting this in. MG

FUCK! I've actually got this! I kept thinking about Norman and saying "no, it couldn't be". CRETIN! MG

Well, this is one I've got to get. Is it under Hamp's name? MG

Too hung up on recognising Teddy in the first Tapscott selection, I assumed you'd put another in from the same gig, since both tunes are from the same Criss LP. Clever misdirection! MG

I had "JS trio + LD" on LP, but never heard "Cherokee". Very nice album. The groove on "Things ain't what they used to be" is wonderful! MG

My copy (and "Cherokee") just turned up. Thanks to all. MG

Thank you Larry. I'm contemplating getting a Fred Anderson album next mnth, because he looks such a nice guy... MG

Not Whitehall Mi? MG

Montgomery Ward Ward Bond U S Bonds

I don't know; this is a difficult point. Clearly, Davis was generalising. Some time in the early '60s, it came to me that people like Howlin' Wolf and Sonny Boy Williamson weren't making their music FOR ME; a white teenager in Britain. Nor, for that matter were Soul groups like the Falcons and the Jive Five; Gospel groups such as the Dixie Hummingbirds; jazz musicians such as Jimmy McGriff and Willis Jackson; Ska bands from Jamaica; or Highlife bands from Nigeria and Ghana. It was clear to me that they were making music to satisfy their own various audiences, all of which were very different from me and the people I knew and our life experiences, such as they were at that age. It was also clear to me that, notwithstanding this, I could very easily pay no attention to the issue and regard the recordings I was buying as SIMPLY PRODUCTS which were available to me to enjoy in any way I liked, without regard to what the musicians and singers were actually trying to do for their respective audiences. I decided that this approach was not for me because to ignore the human relationships between performer and audience was to miss something quite important. But I know that it was an approach that satisfied rather a lot of people's way of consumerist life. In essence, the problem is one of "World Music". That's a category designed by people who, it seems to me, don't care that the hundreds of different kinds of music in the world are quite different but are happy to lump them all together as one product - perhaps because they know that most people don't care either. (It also assumes an Americo-centric position, forgetting that, for most of the world, every kind of American music is "World Music".) And yet, who am I to say that they're wrong? MG

Larry - you and Chuck are both in the Chicago scene and I'd trust BOTH of you to say the right thing, especially on this subject, in which I know little. But... MG

Sonny Stitt discs 4, 5 & 6 MG

Dennis Compton Jack Hobbs W G Grace

Fred Perry John McEnroe Bjorn Borg

Oh, I didn't realise from your earlier post that there are no saxes on "Millology" - I thought you meant there was a different order to the solos. Glad that's clear. On "Danny Boy soul", much of Charles' solo - from when he goes into double time - is almost a straight lift from McGriff's "M G blues" from the "I've got a woman" LP. I'm sure you've got that one to compare. MG

Bonnie Prince Charlie Charlie Chaplin Harry Chapin

Sorry - one more point. I always had a feeling that "Danny Boy's soul" was recorded at a different, much earlier, session. Charles' playing on this is VERY like Jimmy McGriff's and quite different from the other tracks from this session that were put on "Smokin'". What's your feeling about that? MG

A further point, Dan; do Coleman and Schnitter appear on the other "Boss organ" tracks? MG

Ben Dixon Nat Dixon Dixon of Dock Green

Yes, tapes do appear to be a problem. But in Europe and the US, they've never been anything other than an alternative medium for merchandising. I can't think of any European or American records that were issued ONLY on tape. So libraries and other academic institutions should generally have vinyl copies. We're not talking here about preserving the masters, only the public copies that were issued for the consumer trade. As far as other parts of the world are concerned, much African music has only been issued on tape, particularly since the '80s. Some material has been coming out on CD for a few years, but the CD market in those countries is very small, so only the most popular records are being issued on CD. Pretty well throughout Africa (except perhaps South Africa), vinyl was knocked out by piracy in the late '70s. But, of course, all that material will remain in copyright for several decades. How long can I expect my 700 odd African tapes to last before I can't listen to them? MG