Jim Duckworth

Although I've been listening to this regularly for 40 plus years, it sounded absolutely fresh this morning.

This is my experience exactly. Shortly after I purchased this set a couple of horrendous events had dampened my enthusiasm for nearly everything-music included-but I found that this set helped "bring me back."

Oh, I'm really happy with it.

I added the 1934-1935 Decca recordings to compliment the Earl Hines Mosaic set and completed the Jimmie Lunceford set with the 1939-1940 Okehs.

I know Mr. Atkinson best from a record that made a huge impact on me early: Keno Duke/Contemporaries Crest of the Wave (an excellent record with George Coleman, Frank Strozier, and Harlod Mabern).

Classic Jazz On Line: http://www.jazz-on-line.com/pageinterrogation.php?keymatrix=&keylabel=&keyartist=fletcher+henderson&keyword=&keyyear=&keycatNumber=&B1=Submit Although i did not examine them, there are some 548 downloadable selections featuring Fletcher Henderson and it's free.

My friend Richard Graham always identified Mr. Cherry as his mentor and chief influence as a musician. Running into Mr. Cherry skating and high in the East Village, my friend welcomed the opportunity to introduce Don to his significant other who was decidedly unimpressed with the man he held in such high esteem. Until this thread, I always thought that story was apocryphal.

If memory serves there is a segment in Ken Burns' Jazz wherein Wynton sings some well-known march in the style of Buddy Bolden-it sounded so much more like Roy Eldridge to me.

Thank you for posting! Now I feel that I must have this.....

I really like the Kenny Wheeler/John Taylor partnership.

I am really glad to see Ms Day getting some love on this forum. I find some of her vocal performances to be of the highest quality.

Mr. Knepper was playing with Mingus when I caught them at Carnegie Hall in 1976; I've since come to reflect just how remarkable it was that the trombonist had rejoined Mingus given their past history.

PM on Sun Ra -- The Eternal Myth Revealed, Vol. 1

Dud Bascomb is responsible for most of the trumpet soli on the Erskine Hawkins sides and is on some of the later forties Duke Ellington records. Paul Bascomb, his tenor playing brother on these same discs, went on to a modicum of fame playing a kind of r&b.

I spent some quality time with this very issue just recently. Your post has got me reaching for it again. Thanks.

PM sent on Don Pullen set.

I need to get this! Mr. Mitchell is a national treasure. Some years ago I had the opportunity to tell him that he had changed the way I heard music. As part of a Jazz festival a group of critics and musicians converged to discuss Jazz in Europe (participants included Amrii Baraka, Peter Brotzman, Evan Parker, Wadada Leo Smith and others in a lively, at times contentious conversation.) There was a bit of tension in the room and Mr. Mitchell (not a scheduled participant) felt a bit slighted and spoke up. Although he was a bit miffed, he was extremely cordial to me when I approached him.

I'm exploring the Duke Pearson arranged octets and nonets from the mid-sixties. This is taking me through quite a bit of Stanley Turrentine as well as sessions led by Blue Mitchell, Lee Morgan, Lou Donaldson and Mr. Pearson's The Right Touch.

Next up: King Oliver didn't teach Louis anything.

This set is a great place to hear Miles actively and successfully shaping what the Quintet did.

These live 1978 and 1979 sessions from San Francisco's Keystone Korner feature tenor sax player Dexter Gordon with a fine rhythm section of George Cables on piano, Rufus Reid on bass and Eddie Gladden on drums.

PM sent on Frank Kimbrough.

PM sent on the Bill Evans.

On a related note: one of the Black motifs is Riding on a Blue Note from 1938. Interestingly, Come Sunday came up in my listening twice this week: studio and broadcast Gerald Wilson (with Hobart Dotson) and Booker Ervin.