HutchFan

NP: Anthony Davis, James Newton, Abdul Wadud - Trio2 (Gramavision)

On the way into work this morning:

He shoots, he SCORES!

Jean-Paul Celea, Dave Liebman, Wolfgang Reisinger - Ghosts (Night Bird Music)

Lester Young - Lester Swings (Verve) I've been listening to lots and lots of Hawkins lately, so I thought I'd shift gears and spin some Prez. Now listening to the cuts with Nat Cole & Buddy Rich.

Allen, what's this about Byard? More details please, sir!

Don't be shy about sharing your thoughts on these, Rooster. Would love to hear your impressions -- after you've had a chance to hear & "absorb" them . . .

Jimmy Heath - Jimmy (Muse, rec. 1972) Reissue of The Gap Sealer, originally issued on Cobblestone. with Tootie (brother) and Mtume (son). I like this LP better than any of the Heath Brothers records.

EDIT: This is enjoyable, but I still think Silver 'n Brass is the best of the bunch. Of course, YMMV.

Just ordered these 12 LPs from a single seller on discogs, all vinyl VG+ or better: - Dexter Gordon Quartet - The Apartment (SteepleChase) - Coleman Hawkins - The High and Mighty Hawk (Felsted; Affinity reissue) - Sheila Jordan / Harvie Swartz Duo - Old Time Feeling (Palo Alto) - James Moody - Hey! It's James Moody (Argo; Cadet reissue) - The Albert Nicholas Quartet with Art Hodes (Delmark) - Dudu Pukwana - In the Townships (Virgin) - Pee Wee Russell & Coleman Hawkins - Jazz Reunion (Candid; Barnaby reissue) - Sonny Stitt - My Buddy: Sonny Stitt Plays for Gene Ammons (Muse) - Sonny Stitt - Sonny Stitt with Strings: A Tribute to Duke Ellington (Catalyst) - Gary Thomas - Seventh Quadrant (Enja) - Lucky Thompson - Dancing Sunbeam (ABC/Impulse; 2 LPs) - Mary Lou Williams - Solo Recital: Montreux Jazz Festival 1978 (Pablo) I think I did pretty well cost-wise. Lots of outstanding music for less than $50 total outlay.

Very, very true. Most of the stuff gets made at any time is going to be mediocre or worse. But, every so often, you hit on something that the "culture at large" (however fuzzy that may be) has forgotten (or never really picked up on in the first place) -- and there's no good reason for it, other than extra-musical factors. In those cases, the music can be good. Maybe even DAMN good. That's fun.

Me too. I'm lucky that way. Regarding the video: I was a bit surprised that Gioia focused exclusively monetary/economic angle when it comes to ownership. I think there's another type of ownership that's less tangible, but perhaps just as important. Gioia focuses on the music-makers -- the musicians, publishers, and music-business people. What about the people at the other end of the economic equation: the music listeners/consumers? When I make a (literal) investment in a something, I'm more likely to ascribe personal value to it, more likely to make a (figurative) psychological investment in it. In other words, one of the reasons that our culture values music less is simply because individuals don't have to pay for it. Think of it this way: If I plop down $18 for a new CD, I'm MUCH more likely to listen to it carefully with my full attention. As a result -- in the end -- I'm more likely to integrate the music into my life, making it part of my everyday "psychological furniture." I also think this is one of the (many!) reasons why music has become much less central in the lives of young people than it was up until the beginnings of music being ubiquitous and free via the Web. It seems like the idea of music being central to a person's identity is far less common now. When I started collecting -- and even up to today -- the music that's in my collection is somehow (figuratively) a reflection of who I am and (literally) what I value. But I don't think young people look at music that way any more. Last thought: Even if I'm more likely to see things this way (because I'm a collector and because I like the idea of a music library), the economic principle still applies. Amazon.com knows that I'm more likely to rate a CD or book higher AFTER I've purchased it. So, if the music is free, there's an economic loss taking place on the part of the musician and record companies -- but there's also a corresponding (less tangible) loss on the part of the people who are (or aren't) listening to it. I guess what I'm saying is that this is the psychology behind the economic principle of scarcity. If gold were ubiquitous, it wouldn't be gold.

I'm listening to the CD release, which also includes Stitt's LP Now!

Terrific story, Jeff. Thanks for sharing that. It's always fascinating to hear how people were drawn into the world of jazz.

and

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Excellent!

Continuing my Coleman Hawkins kick with . . . Coleman Hawkins & Clark Terry - Back in Bean's Bag (Columbia) and Kenny Burrell with Coleman Hawkins - Bluesy Burrell (Moodsville)

Coleman Hawkins & Pee Wee Russell - Jam Session in Swingville (Prestige) Now listening to the Hawkins-led session, the first record in this 2-LP set. and Zoot Sims and friend... (Classic Jazz) The "friend" referred to in the title is Bucky Pizzarelli. ... My pressing of this LP is very strange. The first side consists of duets with Zoot & Bucky. The second side is the exact same tunes as heard on the first side, except Zoot isn't there -- as if it was a "Music Minus One" record for sax players. There are supposed to be 3 different tunes on the second side, so this was a manufacturing foul up. Very odd. ... That said, the music on the first side is so good that I'm loath to part with the album.

with Buddy Collette, Fred Katz, John Pisano, and Carson Smith