Big Beat Steve

None of it included in Mr R&B's 'Be baba leba' compilation. But it's only an EP. MG You'd need to check out her OTHER Mr R&B album: New Million dollar Secret (on Whiskey WOmen and ... KM-707). Half of the EP is on there: All I Ask is Your Love (after-hours slow blues, as the title suggests) and Woojamacooja (nice danceable mid-tempo)

Not likely we're going to see a Prince Guy, right?

Good to see they did use repros of the original covers for the Boplicity vinyls of the Dootone series (as they did on Fresh Soudn which must have been more or less contemporary). I remember other Boplicity vinyls left me unimpressed (e.g. the Pepper/Baker "Playboys" 80s pseudo New-Wave-ish cover - nothing compared to the original cheesecake cover on WoPa. ).

O.K., that settles it ... the R&B output of the label will be (has been) taken care of very well ... I wasn't too impressed with the cover artwork of the Boplicity LPs in the 80s. Sort of nondescript cheapo and not evocative of the contents. Hope they do a job this time that matches that of the Ace CDs.

The Fresh Sound reissues of these sounded quite OK to me. But they shouldn't stop halfway. Reissue the RB& stuff, eH? How'about it?

Wouldn't a needle-drop still have been far better than skipping it? Now where's the outcry of the completists?

Wasn't it rather some form of "hydrocephalus" that he suffered from in his later days which ultimately led to his mental degradation? This is what his Wiki biography entry says. Not that I would always take Wikipedia as a 100% reliable source but the description of this disease corresponds to how he was described in his "final phase" in a very old post/thread somewhere here on this board several years ago.

I may be mistaken about the exact Charing Cross Road location, I only remember discovering Waterstones in the mid-to late 90s at a site surprisingly close to Foyle's (which left me wondering how both could thrive in such proxmimity, even in this "book shop district"). Haven't been to London since the yar 2000 so was wondering, but if they only closed down certain sites this answers my question.

Great move. More power to him! Waterstones (Charing Cross Road, right?) is gone too?

The real deal he sure was. "Pee Wee Get My Gun" was an ear-opener for quite a few fans of boppin blues sounds around here. Hard to imagine something like this could be committed NEW to wax and wasn't a reissue/rediscovery of electric blues of the late 50s or early 60s. At times he even made Elmore James or Hound Dog Taylor sound almost mild and restrainted compared to him. Tuff stuff ... RIP

Far tooo many cigareets!

OK OK, the bottles are out in the back (cover):

You're sure this is a BUS instrument panel?

Amazing that none of the BN completist geeks around here have come up with this one yet: Some more:

The real thing now: Back cover but anyway ...

Claude, the discography that came with the Mike Hennessey book WAS COMPILED by Michael Frohne. I haven't seen a separately published version of this discography but to me this looks like it is the same thing (since it has the same compiler).

I don't have this "discography with CD" but the "discography on CD". The CD with Klook's discography is included in the German translation of Mike Hennessey's Kenny Clarke biography published in 2004. I haven't worked with this discography so far but judging by the few impressions I got of the research involved when the discography was drafted it seemed to me like it was going to be the result of extremely thorough research.

Working oneself into a frenzy about a scant few members of the audience taking pictures? Artistic sensitivity ...my eye! I'd venture a guess with most "artists" who act this way it's more about controlling how one wants to be seen and which (contrived) pictures one wants to sell as exclusive (!) merchandise to a gullible audience (little importance if Jarrett indulges in those commercial strategems ... the mindset (of how to hold the audience hostage - as if the audience is there to please the performer, disregarding the fact that it is a give and take BOTH ways) is almost the same. I used to take lots of pictures at concerts (but have cut down on this quite some time ago, mostly for reasons of convenience and oversaturation) and do not pretend they will ever serve any purpose but to fuel my own memories and those of my friends every now and then about concerts we attended some 10, 15, 20 or 25 years ago, but I sure am glad others took pictures privately to capture moments of musical history through the decades (where no other photographic records exist - no professional ones, in particular) that have since been assembled in books on specialist musical subjects for posterity to enjoy. Jarrett plainly has a major problem, that's all. More or less like Klaus Kinski (if not even worse) in his stage behavior towards the audience in his day. BTW, I wonder if a 1000-sensitivity film would have been able to capture something of substance even under these measly illumination conditions? I hope some adventurous soul will try it at the next Jarrett concert!

A question re- a bit of Lee Morgan trivia: While browsing through a 1956 copy of the French jazz mag "JAZZ HOT" the other day, I noticed a news item on a tour by the Dizzy Gillespie orchestra, and in the line-up one of the members of the trumpet section was listed as Lee "Howdy Doody" Morgan Was this a nickname commonly tagged on him in his younger days?

Yeah, imagine you are held by an officer named UNCONSCIOUS. Does he know what he's doing?

Bought the Lester Young Reader first (in the late 90s), found it very interesting (like JSngry said ...) and the bio by Lewis Porter later on but don't have the Buchmann-Möller book (of which I'd heard but no copy was available at the time I bought my Prez books). At the time I bought the bio by Porter I also got me a copy of "Being Prez - The Life and Music of Lester Young" by Dave Gelly (following some recommendations on this board IIRC). I haven't really done any "comparative" reading of the Porter and Gelly books but somehow find the Gelly book less "technical" and therefore more accessible for non-musicians than part of the Porter bio, though a bit brief (too brief?). Any opinions out there on the Gelly book?

Marcel, so you were lucky, then, you got your copy at a time it was still affordable. I remember being very interested when it came out and even inquiring about it at the Bloomsbury Book Shop in London (run by John Chilton's wife) where I had bought books every now and then in the late 70s. In a stocklist of the jazz books in stock she sent me around that time she added a note saying "Can get To Bird with Love - 56 Pounds - ugh!!!" :D An understandable reaction ... This was about 250 to 280 Deutschmarks at the exchange rate of the time. So what could a student of 21 do? I did consider shelling out for Paul's copy but the skyrocketing shipping rates and other complications of such a transaction don't make it really feasible for me. Unfortunately ...

Now this really is a creepy subject. Considering how time flies, I've often wondered more or less seriously about this subject myself in recent years once I'd passed the 50 threshold, but seeing all those different options and intentions mentioned here, this really give me the creeps ... (Though no doubt it is something you NEED to consider). In my case its not only my record collection but also my 50s cars and all the spare parts and manuals etc. I've accumulated for them. So you imagine two space-encumbering hobbies where money is tied up ... I've already scaled down a little (a LITTLE ... ) on the car stuff I've hoarded (and this will continue) but still ... Seriously, my own ideas focus on one key aspect. As I expect that my better half will far outlast me (she is 13 1/2 years younger than me) and a good deal of my friends and buddies in the music lover/record collecting field are about 10 years younger than I am, I figure I might just as well appoint one or two trustworthy "caretakers" for what I've accumulated (for various parts of the styles of music I am collecting) who are well-versed enough in these collecting fields to be able to sell off/pass on the stuff to interested takers at a price that at least would net a fair amount of money to my heirs. Not the full value, of course (far from it), but more than just unloading it to a dealer who'd more than likely shortchange you mercilessly. There would be a candidate to take care of the r'n'r stuff and another one for the swing/R&B stuff (which would "only" leave the modern jazz items, then, as things stand now ...). Oh well ...