patricia

JazzTone J-1232 - Wild Bill Davison's All-Stars and Dixieland Rhythm Kings. What can I tell you. Love that Dixieland!!

Some people like to listen to recordings; others like to listen to music. ← I guess I was mostly thinking of music, primarily jazz. But, I sometimes venture into unfamiliar territory and am not always disappointed. However, I have made my share of grievous errors in judgement when it comes to vintage vinyl. "Voices of Haiti" is but one of them. But, I think that we must sometimes take a leap of faith and that involves a certain amount of risk. But, having acquired a real dud, it's sometimes difficult to admit that you are not really into calypso, or jazz fusion, or other genre. I quite often find myself thinking that I have been missing something by not giving an artist at least a listen. So.............there the album sits. By historical albums, what do you mean, Jazzbo?? Do you just mean really old recordings of vintage music, or actual history on records??

Yeah, I was pretty disappointed at first as well, but it worked out okay... ← Not you, Quincy, but some might misunderstand the meaning of organ or organism. Those people are beyond our help.

THAT'S THE ALBUM!!! A journey into Hell as I imagine it to be. I think that Kenny G's take on the theme from "Titanic" would be in the same rotation. HORRIBLE!!! Of course, just my opinion. Sorry Allan. I had thought all copies of this would be cosigned to an undisclosed location.

How well I remember that mini-furor. If you remember, Chris, I actually posted the 9/11 poem for the amateur poet in question, who, contrary to RD, was still banned from JC. I posted it because while the rest of us were saying, in various ways, "Ain't it awful?", he actually wrote a poem, expressing his outrage very well. So, it went on the board, under my name. I received kudos initially, although I had said at the outset that it was not my work, but an honest expression of outrage that I felt deserved to be seen. RD took offence when the poet was revealed. But RD takes offence at the drop of the proverbial hat. Outrage seems to be her permanent state of mind. Pity. In another of a few unpleasant encouters with RD I made an innocuous comment about being raised to only hate people who had personally done me ill, regardless of their colour. She as much as told me I was a naive fool for not understanding racism. Since then I have avoided her and her thin skin and am much better for it. As for posting under a handle, I use my real first name, mostly because I can remember it. I posted with a handle for awhile, [still life] but reverted to my real name. I think that the difference between unsigned letters and internet discussions has been very well described by those who use them. What you post is important. Who you are isn't. It's easy enough for the webmaster to know who you are, if it becomes necessary. We register with our name and our chosen handle if we're going to use one. PMs are usually signed with the person's real name.

I guess in starting the thread I was most interested in what was going through your minds when you saw the record that turned out to be not just not very good, but truly awful. I don't think that anyone sees a record and doesn't hope that it is going to be fun to listen to, or even a gem in disguise. For example, I still remember the high hopes I had for a ten-inch LP called "Voices of Haiti". I thought that it would be an unusual collection of exotic sounds, unique percussion, passion and rhythm. It turned out to be totally incomprehensible noise, that just went on and on. BUT, somebody recorded this, thinking it would be enjoyed. Who would enjoy it?? It was truly the most awful collection of horrible noise I have ever encountered. But my heart was so hopeful on purchasing it. Do any of you have any stories of thinking that you were taking a bold step into unfamiliar musical territory, either by buying an unfamiliar genre, or artist and been totally turned off by it, to the point that you felt like an idiot for having done so??

Usually I'm told that my taste is not the same as other people's. But, if the record is so obscure that nobody knows who the artists are, I guess a yardsale is a possiblity. I always feel so guilty passing on a record that I can't get with, or worse, one that is truly awful. Even free it somehow seems mean. But, somebody thought whoever the artists are were good enough to record, so, maybe it's just me. A quandry.

I haven't really seen this subject discussed, so I thought I would bring it up. From time to time while flipping through the bins I see a record that either has promising instrumentation, vaguely familiar personnel, or a glowing set of cover notes and I buy it. Then, when I take it home, it is not at all what I expected. With all the small groups that call themselves jazz these days, I keep hoping that I have discovered a band that is taking up the mantle. Or I think that they may simply be a group that hasn't had the best promotion. In any case, what do all of you do when you have a fistful, or more of records that, having listened to them, don't move you, or touch your soul the way you had hoped??

Thank you for asking, Clifford. I thought everybody but me must know, so was hesitant to ask. Speaking of Cotillion, I picked up a 45 the other day on that label, by Brook Benton called "Soul Santa", which is unusual in that both sides are the same song, a soul Christmas song, same arrangement, slightly different lyrics. Both sides are labelled "plug side promotion copy". I've always loved Brook Benton, but had never heard this song before. This is a spotless copy, one of a half dozen 45s I bought at the same time, stored in individual zip-lock bags.

I've always liked the theme from "Shaft", so, when I saw "Isaac Hayes Truck Turner" I snapped it up. Apparently it's the sound track from an action film, which I haven't seen. The cover has a picture of Hayes stripped to the waist, except for a gun harness. OK, OK, I'm susceptable to a well-turned ankle. Usually I avoid anything resembling a blaxploitation film like the plague. HOWEVER, am I ever glad I've made an exception for soundtracks, especially in this case! The album, 4 sides, was recorded at Hot Buttered Soul in Memphis Tenn. and is very interesting. No list of personnel. Pity. The pacing though is excellent and I'm enjoying this.

Maria Callas' "Carmen" on ANGEL. It was recorded in Paris in 1958. This performance was marvelous and the orchestra was conducted by Georges Pretre.

Just curious - who's on those two records? ← Thank you for asking. On Vol 3: Side 1 Armstrong & Hot Five - West End Blues King Oliver - Aunt Hagar's Blues Bix Beiderbecke with Frankie Trumbauer and His Orchestra - Singin' The Blues Muggsy Spanier and His Ragtime Band - Livery Stable Blues Tommy Ladnier and Orchestra with S. Bechet, M. Mezzrow - Weary Blues Lu Watters and The Yerba Buena Jazz Band -Beale Street Blues Jack Teagarden, vocal wth Armstrong - I Gotta Right To Sing The Blues Side 2 Sidney Bechet with Milton "Mezz" Mezzrow and Tommyy Ladnier - Really The Blues Milton Mezz" Mezzrow with Tommy Ladnier and Sidney de Paris - Revolutionary Blues Earl Hines with Wallace Davenport and Orange Kellin - Tishomingo Blues Jelly Roll Morton and His Red Hot Peppers with Johnny Dodds - Wild Man Blues Joe Venutti and Eddie Lang - Stringin' The Blues Fletcher Henderson and His Connie's Inn Orchestra - Blue Rhythm Clarence Williams and Orchestra - New Down Home Blues .............................. Vol 5 Side 1 Jimmie Lunceford - Blues In The Night Count Basie - Swingin' The Blues Harry James - Kingsize Blues Glenn Miller - Farewell Blues Woody Herman - Blues Upstairs Louis Armstrong - Back O' Town Blues Side 2 Duke Ellington - Memphis Blues Erskine Hawkins - After Hours Lionel Hampton - Three Minutes on 52nd Street Dizzy Gillespie - Dizzy's Blues Jack Teagarden - Prelude To The Blues Les Brown - Sobbin' Blues ....................... So, you can see why I'm tempted to look for the other records in this series. Marvelous stuff.

I wanted to add my condolances to everybody else's on the loss of your mother, Conrad. We are never ready to say goodbye to our parents, even though we know that they have accepted that they are dying. My own mother died seven years ago, at ninety-two and my father two years later. I still feel their presence. Strange that. I found that remembering how both of them affected my life, all my life and made me the person I am today was comforting. They did their job and clearly your mother did her job as well. Her family and friends loved her. She loved her family and friends. That, in the final analysis is all that matters.

The Blues - Vols 3 and 5 - on Italian label, JOKER. I only have these two volumes of the set of albums. They end with Vol 6, which along with 1, 2 and 4 I don't have either. Now, I could follow my second mentor's lead and become a completist, but the two I have are very nice. I could keep my eye out for the others, but unlike him I won't move heaven and earth. That's the sure road to insanity.

The Best Of Blue Note - Blue Note BS2C 84429 - 2 record set. This has all the HUGE hits from Bud Powell, James Moody, Theloneous Monk, Milt Jackson, Clifford Brown, Miles Davis, John Coltrane etc But the sidemen are just as interesting. For example, there's Lee Morgan with Coltrane on Blue Train and with Art Blakey and the Messengers on Moanin', plus again on his own monster hit, The Sidewinder. Great album.

LMAO That set-up sounds very, very expensive. I wonder if the sliders will hold up long term. Could he get at, and view the LP's easily? ← I don't think that drawers would be the solution. It's not whether the drawers would be on strong enough runners, but how difficult the albums at the very back of the drawers would be to access to remove them easily. I agree that the spines of LPs are not unattractive in a room setting. Much as a library of book spines add to a room, they also do. One solution I found to be interesting is a series of retangular sturdy wooden boxes, slightly taller than the albums and slightly [about an inch or so] less deep than the albums. This allows for easy removal of individual albums, while supporting their weight also. The boxes are on their sides, with the open side at the front, enabling them to be stacked, as many as three high. They should be solid wood, not particle board, and not too long. You can line them up side by side, placing the second row on top of the first and so on, as your record collection grows. If the boxes are sturdy enough, you could probably stack them three or even four high and the length would be determined by the space you have avaiable.

Leonard Feather Presents Encyclopedia Of Jazz On Records Vols 3 and 4. The Forties and The Fifties. 2 record set. The tracks are by Forties: Artie Shaw Stan Kenton King Cole Coleman Hawkins Jay McShann Roy Eldridge Art Tatum Billie Holiday Eddie Condon Eddie Heywood Lionel Hampton Woody Herman Fifties: Red Norvo Errol Garner Charlie Ventura Louis Armstrong Jimmy McPartland Tony Scott Benny Green Terry Gibbs Elmer Bernstein Ralph Burns John Graas Les Brown This is typical of Feather's compilations in that it is beautifully produced and paced and features the best of the best of both decades featured.

Jazz Canada Montreux 1978 - Tommy Banks Big Band - with "Big" Miller. This was released on the Radio Canada International label. It was produced by Radio Canada. Those of you unfamiliar with Tommy Banks, who worked out of Edmonton Alberta might find it interesting to know that he was not just very well known in Canada. His band was well respected internationally. In addition to "Big" Miller, Banks has worked with Aretha Franklin, Tom Jones, Roberta Flack, Vickie Carr and the great Henry Mancini. He was also the director of the Edmonton Symphony orchestra. This band is very swingin' and the two record set is well-worth listening to. I bought this album because Miller, who facinated me when I saw him perform live, is featured as the vocalist. But the band was already familiar to me, having appeared often on CBC television when I was growing up. Miller, originally from Kansas City, liked Canada so much that he emigrated, making his home in Edmonton, Alberta. There is a statue there, erected in his honour.

Either one would be better than The Star-Spangled Banner, IMO. Both are patriotic, but don't glorify war. A national anthem should make one proud of their heritage but not talk about rockets exploding and other horrors of war as if they were admirable.

I think that America the Beautiful is a much nicer song. Let's have the U.S. adopt it as their national anthem. Good idea.

Well, and I think O Canada is gay...perhaps they can marry each other....up in Canada. ← Now THAT WAS FUNNY and on topic too. ← You may also have heard Canada's National Anthem played the other day when Alexandre Departes aced the gold in both the one and three metre diving world championships. He already held the world tower gold from last year, though he didn't compete in that event this year. China took silver and bronze. The U.S. didn't hear their anthem, having placed around sixth or so. There was no strutting by Departes, just embracing the other two competitors from China on the podium, not that there's anything wrong with that. The anthem sounded great to me.

The Chicagoans "The Austin High Gang" 1928-1930. on Decca. The Chicago Rhythm Kings McKenzie and Condon's Boys Husk O'Hare and His Footwarmers Joe "Wingy" Manone and His Club Royale Orchestra Elmer Schoebel and His Friars Society Orchestra The Cellar Boys The cover notes are tiny, tiny print crammed into the space, written by George Hoefer and talk about the influence that Frank Teschemacher had on all these bands, as well as their histories. This is a fabulous album.

HAPPY BIRTHDAY!!! You just get better and better looking. You won't get taller though. Cake all around and haul out the best libations.

Music For Torching - Billie Holiday - Verve The band is: Jimmy Rowles on piano Harry Edison on trumpet Benny Carter on alto sax Larry Bunker on drums and John Simmons on bass. Nobody sings a torch song like Billie Holiday.

I was hoping to recruit one as a librarian. ← Need a full band of elves plus some time! Hoping to have all (well, almost all) my vinyls back in alphabetic order by the end of this year ← I've always had my vinyl in alphabetical order, with a slowly but surely growing Miscelaneous section. That's the section that drives me nuts. I't gotten to be at least twenty percent of the total, because they are mostly compilations. So, does anyone have a suggestion?? The single artist or band records are obvious, but under which name should I shelve the compilations?? Even the vintage place I haunt puts them all on a really long shelf, in no particular order. I have to set aside at least an hour there, maybe two to view the records on that one shelf, stretching down an entire aisle. So my vinyl guy hasn't solved the problem either. In the meantime I'm listening now to "The Everlovin' Sassy" on the Vernon label. Every song a gem.