Niko

this is one of the great posts, it takes some music that you should be familiar with but aren't (Jelly Roll Morton), adds some historical background on a particular aspect, then points out a manageable amount of music and finally gives you some hints on stuff to listen for in the music you would otherwise never thought of... this is one of the really helpful .org posts... don't think I'm much deeper into the topic yet... more or less to the day two years ago, I walked into one of the great record stores, and ended up buying most of that New Orleans Living Legend Series on original Riverside vinyl for little money... and since then it's been getting worse Bechet Mezzrow Quintet – Gone Away Blues a 45, bought mostly for the cover... Lionel Hampton - Master of the Vibes bought for the cover + Oscar Dennard... worth it for the cover...

i sometimes use google translate, word by word, taking everything with caution and keeping in mind that japanese names are usually given last name first... so this suggests that Ikeda is indeed the artist behind A3 and B3... less luck with Fuijika and Kayashima... but the artist names of A2B2 and A4B4 have quite a bit of overlap... apparently that is the japanese way of saying "quintet", link, so that would confirm your suspicion...

agree, that list is pretty good, but a bit heavy on bay area stuff... and, indeed, the list includes some things that also helped me get into the topic, like the Wilbur de Paris band (at Symphony Hall) or Kid Thomas (esp. the one with Emile Barnes on Riverside, and some of those with his own band with Manny Paul on tenor, like "At Kohlman's Tavern")... and last week, I finally got to the Condon Commodores (this compilation) and they are obviously amazing, first class jazz. As a newbie, I must say that I still have a preference for stuff with a single horn - even though that will possibly wash out with more experience anyway, one album that I've played a lot via spotify is this one Art Hodes (p) with Truck Parham (b) and Volly de Faut (cl). I have mostly avoided both George Lewis and the bay area stuff so far... even though I really like this session which combines the two... (Dan Morgenstern writes in the comments it's some of the best George Lewis he's heard). Singer Barbara Dane is a fascinating figure who I have followed a bit... That an album called "I hate the capitalist system" would (indirectly) come out of a dixieland scene was really at odds with preconceptions I had (and I guess the 1950s bay area scene was also quite different from the 1990s European scene I dimly remember from my childhood - as it would be for most genre's of music) Btw, I have also learned a lot from jeffcrom's blog and his posts here

very much agree with Rab re the Soejima book... the language is really a bit stiff, and while the focus has a lot of overlap with what I find interesting (so, for instance, there will be a passage about many of the great Togashi and Sato albums from the 70s) it really is a bit narrow (especially in later decades). It's a bit as if (e.g.) Chuck Nessa would have written his autobiography, deleted the childhood chapter, autotranslated the whole thing into Chinese and back into English and then called it "Free Jazz in Chicago". Of course, anyone seriously interested in Free Jazz from Chicago would want to read that book (especially in an alternative universe where the only other book about Chicago Jazz covers everything from Bix Beiderbecke to Roscoe Mitchell on its 300 pages)... But still, it would be a bit frustrating... I also have Blue Nippon by E Taylor Atkins. As a book, it's much better. It did win its author a PhD in history but I would say that really doesn't show too much in the writing... The book covers 1920-1980 - which means that the time from 1960 onwards gets relatively little coverage... You do learn a few things about Togashi and others - but don't expect the book to say something about a particular album. As the child of two social anthropologists, I can totally understand why one would be fascinated with how Jazz came to Japan, became part of Japanese culture and all those things that happened from the 1920s to the 1950s (including, obviously, some political developments as well)... but for me as a music fan the Soejima book is still more useful...

As he (presumably) did on Lockjaw's Trane Whistle...

George Finola - Jazz of the Chosen Few live at the Jazz Museum, no less... the cover was one reason to buy this, participation of Armand Hug and Raymond Burke the other...

I've also been listening to quite a bit of revival music in recent months... Record store owners tend to be amazed to sell any of this music... I started mostly with music involving "old" musicians from New Orleans, like Chris Albertson's Living Legends series for Riverside, some related stuff like Emile Barnes on American Music... I was also curious about Joe Mares Southland label and got some of that stuff... more recently, I have mostly been buying stuff with Art Hodes or Don Ewell on them (the latter a revivalist, I guess)... Another really revivalist record I've been playing a lot is one by Doc Evans on Audiophile with Omer Simeon on clarinet... and the Mart Grosz Riverside album with Frank Chace... I've mostly stayed clear of the various European scenes yet (Dutch I could buy by the dozen)... Also haven't really gotten into the Bay area revival even though I did play a few things (like Trouble in Mind by Barbara Dane which is great) I did read up a bit about that weird American scene of College Dixieland bands that brought us people like Steve Swallow or Roswell Rudd... what drove teenagers in the 1950s to this old music? Somewhere I read an interview with clarinetist Stan Rubin, one of the stars of that scene, who more or less admitted that he was a fan of Artie Shaw (like you would expect) until he arrived in Princeton and realized he could make loads of money playing dixieland... regarding resources, indeed the usual channels can be dry but there are some great webpages like this one or that one Lee Collins - A Night at the Victory CLub one thing that's interesting about this 1951 live album is that it has a revivalist band (with Don Ewell, a tp/cl/tb frontline) on one side, and on the other a "club date" with a tp/ts frontline that's probably closer to the reality of what Collins would have played live...

Thanks hopkins!

Meet Oliver Nelson? Or those live albums with Barney Wilen? Those are all among my favorites

Indeed, thanks for the link!

Had completely forgotten about those Kempowski novels, read several as a kid from my mom's bookshelf... Guess they were a big deal in the Germany I grew up in... And i liked them as well even though I just remember a few vignettes now (like how his mom thinks the trash collectors have a new uniform when she first encounters the SS...)

after a recent concert, I asked Lloyd Swanton which of the various albums he was selling there he would recommend (if I was to buy only two)... he said that the one called SEX was still quite popular even though it was an older one... and then maybe OPEN for contrast he thought [quoting from memory here...] Have been quite happy with those purchases but haven't digged deeper yet... (and I heard them live twice which was amazing both times)

my four week old daughter and me had our first (almost entire) day of listening to records... if there's one we can agree upon, it's most likely this meeting between Art Hodes and the late 70s Atlanta trad jazz scene...

Agree on all counts, it really feels very Tristanoite (with a dose of Birth of the Cool sprinkled in) and the tenor player also sounds much cooler / less prezish and swinging than Urso on those other tracks... So most likely not a lost track from that Fruscella session but still a fascinating piece of early 50s NY cool jazz

same source also has a 1951 tape w Don Ferrara and one with the even more obscure trumpeter Sonny Rich... both w Gerry Mulligan on piano and Phil Urso on tenor...

learned from Jan Evensmo's newsletter that there's some "new" Tony Fruscella (same youtube channel also has more Phil Urso, Don Ferrara, Gerry Mullian etc, all from the collection of drummer Howie Mann) and one more mystery track that may or may not belong to the others... it definitely fits the vibe and features a trumpet player from this school...

Thanks for the link, loads of interesting concerts from San Francisco there, now playing a Joe Henderson / Eddie Palmieri duo... https://archive.org/details/casfjazz_000115/casfjazz_000115_t02_access.m4a

I'd consider bacon within a potato salad a somewhat quirky but entirely valid variation... It may be served as a side dish to (among others) Wiener sausage but that's fairly independent from the decision to add bacon to the salad. (Wiener sausage within the salad would be fairly outrageous though.)

Our own brownie should know since it's his photography on the Marion. Brown album...

they always had weird programming with an emphasis on fusion when I looked at the program over the years... I've lived close to Leverkusen for most of my life but was never tempted to go... when I look at the upcoming edition here it's the same... still more fusion than I would put on there, and a lot of what Downbeat used to call "beyond". If I had to attend something, it would be coin-toss between Uri Caine's Wagner program and aging songwriter Konstantin Wecker... the better festival in the (WDR) area was always Moers, and even though that festival has changed a lot, too, the program still looks much more attractive (link, still in progress)... the festival that gets the Leverkusen concept right (w a much bigger budget) is North Sea Jazz, that's also just 250km or so away... in fact, North Sea Jazz gives you a surprisingly full picture of today's jazz, Tom Jones, Buddy Guy, Marcus Miller, Mette Rasmussen, Andrew Cyrille, Wynton Marsalis, Jan Garbarek, Fred Hersch, all on the same bill

I take it back... I thought Nigeria was a bit earlier, very early sixties, almost fifties ... But it's also from 1962.... Still a Warhol cover seems more likely in 62 than in 64...

@Gheorghe Indeed, they were imitating the Andy Warhol Covers a bit in that series of Japanese reissues... Which kinda makes sense for Nigeria but not Solid... the handwriting is completely off on this one though, Warhol would always use his mother's which looks quite different

This session is discussed quite a bit on the Buster Bennett page of the Red Saunders foundation, here. Reading there, it sounds like Crosby is only the nominal leader... And like you might want to email them with your question...

I actually found a cheap original a few years ago, several generations of tape repair on the cover, but the lp plays nicely... Lined up for playing next after today's lunch break find, bought because it has Lee Collins on trumpet and was still much cheaper than the lunch...

This is a really nice album