Joe

Dunno why, maybe I shouldn't be, but kind of (pleasantly) surprised to see so MUCH love here for EAST COASTING.

In the 90's (or heyday of indie record shops), Bucks owned and operated 14 RECORDS here in Dallas, just off Lower Greenville and at the end of my block. I used to walk up there often and ogle the many rarities -- 8-track and otherwise -- he would routinely bring into the store... I remember the day he finally procured NEVER MIND THE BOLLOCKS, HERE'S THE SEX PISTOLS in that format. Bucks is also a huge fan of Tiny Tim's, and organized what he called "Tinypalooza" not long after the performer's death. Oh, and he was also partly responsible for the famed / infamous [?] Brave Combo - Tiny Tim collaboration... Their version of "stairway to Heaven" has to be heard to be believed. And I mean that it beggars belief in a good way, i.e., you may think you know what Tiny Tim's all about, but... good to know Bucks is still out there guarding the fringe.

I'll cheat... Studio: -- EAST COASTING -- PITHECANTHROPUS ERECTUS -- LET MY CHILDREN HEAR MUSIC Live: -- AT THE BOHEMIA -- AT ANTIBES -- JAZZ PORTRAITS: MINGUS IN WONDERLAND

Thanks Brownie. I think I have seen all or portions of this session out there on the tubes.

Was this originally issued on (one of) the Hat label(s)?

I think I've mentioned this recording before in another context, but it also seems to fit here: Rob Schwimmer, THEREMIN NOIR (yes, a theremin-led trio completed by Uri Caine and Mark Feldman) More info: http://www.polygraphlounge.com/Rob/thereminnoir.html

From what I've read, most of the complaints re: the Contemporary sides have to do with the supporting casts. But, IMO, Walter Norris does some valiant work on SOMETHING ELSE, and I really like Shelly Manne's (admittedly, sometimes self-consciously "hip") contributions to TOMORROW IS THE QUESTION.

I thought so. As a kid I could hear that in the music anyways. It also depends upon which part of Texas we're talking about / looking at. San Antonio, Austin and Houston are all within about 3 hours driving distance of each other, but Doug Sahm does not equal Roky Erickson does not equal The Red Krayola. Go a few miles north and none of them equal Bugs Henderson, who does not equal Bnois King. Then again, a lot of people do not equal Bnois King... Or Brother Vernard Johnson, for that matter.

I thought so. As a kid I could hear that in the music anyways. It also depends upon which part of Texas we're talking about / looking at. San Antonio, Austin and Houston are all within about 3 hours driving distance of each other, but Doug Sahm does not equal Roky Erickson does not equal The Red Krayola.

I'm confused (as is often the case). Is this the actual performance Allen's taking about? (One of the comments suggests that a performance from Woodstock was deleted form Youtube.) If not, id it on an available cd? (My wife heard this and just mentioned that she saw Johnny Winter at Massey Hall.) To the best of my knowledge and recollection, yes, this is the Woodstock performance.

Also, to the best of my knowledge, Joe Harriott's SOUTHERN HORIZONS (Jazzland) has never made it to CD... though were these sessions leased for American release? Ditto Shake Keane's IN MY CONDITION

Two early Islands: Harold McNair, AFFECTIONATE FINK (w/ Alan Branscombe, David Izenzon and Charles Moffett) [Worth the double mention] Ernest Ranglin, WRANGLIN' (w/ Malcolm Cecil and Alan Ganley)

Well, I hear a couple of (admittedly brief) touches a la the Butterfiled Blues Band's "East-West" in Winter's solo... or maybe's its just his going outside the established changes. Hurt plays 12 string on a recording of "Casey Jones" from his first "comeback" session; see AVALON BLUES 1963 (Rounder). But, yeah, number of strings aside, Winter sounds to me like he is drawing from a John Hurt / Skip James / Piedmont picking tradition here.

VOUS ET NOUS sounds not that much like COMME A LA RADIO, but, if you start to get a Fontaine jones, is one of the next best destinations in her discography.

I would offer these two slightly tarnished pennies: the volume, energy and occasional gestures towards vaguely "Eastern"-sounding patterns is late 60's / late psychedelia rock-ish, but overall, the performance owes much more to 12-string approach of Mississippi John Hurt.

Seeing this particular performance several years convinced me that I had made a grave error in overlooking / dismissing Johnny Winter as just another white dude infatuated with the blues. For the curious... http://www.youtube.com/watch?v=xbFAEw_Foqw

Excellent stuff.

For those of us not so familiar with MOTIVATION... From: http://www.jazzdiscography.com/Artists/BarronB/bb-disc.htm The early 70's may not have been a golden age for Savoy, but they certainly were interesting times. Also in need of re-issue / re-evaluation: Barron's 70's / 80's output for Muse.

A few additional words on HOT-LINE... "2 tenors" date with Booker Ervin, another player who, well, let's say was less influenced by Coltrane than he offered a rather personal interpretation of Coltrane's language... very spirited playing, but also very smart, with a bit less stretching out than you might imagine... with a very young Andrew Cyrille in the drum chair

Thanks Brownie. This thread prompted me to spin those 4 Budd Johnson / Jimmy Jones / Big 4 tracks... incredibly sophisticated and complex "mood" music, exemplified by "Strollin' Easy". Also, more prime Jones to be found on some of those CBS Buck Clayton jam sessions.

Wonderful pianist who had, aside from his other talents, a rare understanding of what made Ellington an "orchestral" piano player. There's some fine Jones to be heard on the Mosaic HRS box set, though, if you can;t track down a copy, selections also appear (in lesser fidelity) on Riverside's two volumes of GIANTS OF SMALL BAND SWING. Jones recorded a handful of trio sides with Joe Benjamin and Roy Haynes in the mid-50's. I have them on a CD, paired with a George Wallington "European" trio of similar vintage. Not sure of the original circumstances of their recording (Vogue?), but excellent stuff. Perhaps my favorite Jones' sideman appearances are for Verve: on BEN WEBSTER AND ASSOCIATES, and Harry Edison's SWINGER and MR. SWING (assembled on a Verve Elite Edition 2fer "back" in the 90s.) PS -- according to AMG, the HRS recordings are also compiled on the CLASSICS CD Chuck mentioned, along with some rare titles originally waxed for the Wax label. Looks like a good 'un.

From: http://www.tompkinssquare.com/

Dave Burns' two Vanguard LPs (S/T and WARMING UP), both available, to my utter amazement, via iTunes.

I was reacquainting myself with Bird Royal Roost recordings originally compiled / released on Savoy this weekend, and was reminded by Loren Schoenberg's annotations that: (In reference to his playing on "Be-Bop", 01/01/1949; p. 34, liners, Bird's THE COMPLETE LIVE PERFORMANCES ON SAVOY) Then, today, upon receiving my copy of the recent Uptown release of KD's FLAMBOYAN recordings, I flipped through the booklet only to find a wonderful Popsie Randolph photo of KD holding both axes. So, my question... does anyone know of any official or unofficial recordings of Dorham on tenor? Any recollections of seeing him perform on that horn? Other observations re: the possibly influence his saxophony might have had on his trumpetism?

How about... THE COMPLETE BETHLEHEM, JAZZ MAN, ARGO AND UNITED ARTISTS RECORDINGS OF HOWARD MCGHEE Would include: 1955 The Return Of Howard McGhee Bethlehem NYC, October 22, 1955. Tracks: Get Happy¹; Tahitian Lullaby¹; Lover Man°; Lullaby Of The Leaves¹; Rifftide¹; Oo-Wee But I Do¹; Don't Blame Me¹; Tweedles¹; Transpicious¹; You're Teasing Me°; I'll Remember April¹. Personnel: Howard McGhee: trumpet; Sahib Shihab: alto sax°, baritone sax¹; Duke Jordan: piano; Percy Heath: bass; Philly Joe Jones: drums. 1956 Life Is Just A Bowl Of Cherries Bethlehem NYC, February 14 & 15, 1956. Tracks: Sonny Boy; So Blue; Broken Hearted; The Thrill Is Gone; Just Imagine; I'm A Dreamer Aren't We All; My Song; The Best Things In Life Are Free; Life Is Just A Bowl Of Cherries; Together; Come To Me; My Sin. Personnel: Howard McGhee: trumpet; Danny Bank, Phil Bodner, Sid Brown, Leon Cohen, Herbie Mann: sax; Donn Trenner: piano; Al Caiola: guitar; Arnold Fishkin: bass; Osie Johnson, Don Lamond: drums; Frank Hunter: arranger. 1960 Dusty Blue Bethlehem NYC, June 13, 1960. Tracks: Dusty Blue; The Sound Of Music; I Concentrate On You; Sleep Talk; With Malice Towards None, Pt. 1 & 2; Cottage For Sale; Park Avenue Petite°; Groovin' High°; Flyin' Colors°. Personnel: Howard McGhee: trumpet; Bennie Green°: trombone; Roland Alexander°: tenor sax; Pepper Adams°: baritone sax; Tommy Flanagan: piano; Ron Carter: bass; Walter Bolden: drums. 1961 Shades Of Blue Jazz Man December 8, 1961. Tracks: The Sharp Edge; Cool; Shades Of Blue; Arbee; My Delight; The Day After; Ill Wind; Topside. Personnel: Howard McGhee: trumpet; George Coleman: tenor sax; Junior Mance: piano; George Tucker: bass; Jimmy Cobb: drums. Note: Reissued as Sharp Edge (Black Lion) with alternate takes of: The Sharp Edge, Cool, Arbee and Ill Wind. 1962 House Warmin' Argo Chicago, IL, May 1962. Tracks: Jivin' Around; Jug 'N' McGhee (Muggin' McGhee); Nothin' But Soul (Jazz with A Beat); House Warmin'. Personnel: Howard McGhee: trumpet; Gene Ammons: tenor sax; Barney Richmond: bass; Jake Fisher: guitar; Willie Mashburn: drums; Waco: percussion. Nobody Knows You When You're Down And Out United Artists 1962 Tracks: Nobody Knows You When You're Down And Out; Lonely Town; Secret Love; Why Run Away; Canadian Sunset; Blue Bell; Tenderly; Fly Me To The Moon; Satin Doll; Blues Duende. Personnel: Howard McGhee: trumpet; Jimmy Jones: piano; Ron Carter: bass; Art Taylor: drums. (Discographical information courtesy of All About Jazz)