Big Beat Steve

IIRC some time ago he announced he'd be around much less in the future because he was anticipating being cut off from internet access for quite a lengthy time. So this may explain that ... But like you said ... hope everything is OK in his neck of the woods.

Thanks for the reminder. Not long ago I obtained a s.h. copy of the Mosaic box featuring the complete Verve recordings by Little Jazz. Time to give it a more exhaustive spin ...

In this case - yes. But it also can be used for MOUTH HARP or what the English would refer to as "Harmonica" (as in "Harmonicats"). It all depends on the context ...

That's right. Received the CD yesterday (it's an ear opener to those interested in British jazz of that era, BTW - gave it several spins last night) and the booklet dwells rather extensively on his involvement with those archives.

Don't tell me you actually OWN all these records, Brownie?

Stefan Wood's explanation no doubt answers part of the question. But there seems to be another one which I find highly improbable but as I've read it in several sellers' shipping terms on eBay there may be something behind it: Can it really be so that there actually are parts of the USA that are backwoodsy enough so that the local post offices require their customers to queue up at TWO DIFFERENT counters for domestic and abroad shipping destinations???? Quite unfathomable but then again (see above ...). Looking closer at things, maybe these very same post offices even require people to queue up at a different counter for "out-of-state" shipping destinations ... ("Out of state" ... sure ... that's a different planet altogether ...) Holy mackerel .... service sure ain't what it used to be ...

Which only goes to prove what's been said here: Ha? Is Twist & Shout a song written by Lennon & McCartney, i.e. is this one of their OWN songs Lennon sings so sublimely? So what does it prove if a singer (no matter whether he writes songs of his own) excels on a sing written by somebody else (see the statement made by GA Russell above)? Does this automatically prove that he will be just as excellent on his own material? In short, GA Russell does have a point in what he said above about singer-songwriters IMHO.

Which only goes to prove what's been said here: I have yet to be convinced Bert Berns would have done that much of a superior job on this (HIS) song. So ... ?

I haven't heard all of the Capitol Jonah's but of those I've heard IMHO "Jumpin' With Jonah" (the Capitol album that really went by that title, that is) is one of the better ones, jazz-wise. The others I've heard are OK but you got to be in the mood for them and it is easy to see why they appealed to a MOR public too. Nothing to sneer at (his records may have served as an entry door to more substantial jazz for quite a few) but in a way he simply was the trumpet's Earl Bostic of those times (though if I had to pick one I guess I'd still go for Earl Bostic ).

Never was there (before my time ...) but that description somehow sounds very much like what I remember of my visits to Dobell's on Charing Cross Road in 1975/76/77.

While looking through Amazon for a reissue CD with the same title, I chanced upon this book: https://www.amazon.de/Black-British-Swing-Diasporas-Contribution/dp/0953704092/ref=sr_1_3?ie=UTF8&qid=1295902234&sr=8-3 "Black British Swing" by Andrew Simons Looks like a very interesting read. Yet the Amazon website on the one hand gives an October, 2009 publication date but on the other the availability reads as if it still remains to be published. And another site found on the Web says it is due out "approximately in March, 2012". Uncommonly precise timing that far in advance. Have any of the British forumists around here heard of this book or do any of you maybe even have more concrete details of its publishing status? Looks like one that might be worth keeping an eye on - to me anyway ...

Summer Night Ove Lind Combos (Lind, Bengt Hallberg, Lars Erstrand, Staffan Broms, Arne Wilhelmsson, Egil Johansen) rec. 1975/76 Phontastic PHON 3

While doing an online search for a particular late 40s recording that I had only been aware of an a long-OOP late 70s reissue LP (that, to make matters worse, I had failed to buy at the time), I stumbled across a CD I had never heard of before last night and immediately found an affordable copy on Amazon so placed an order, especially since - in addition to the recording I had been looking for - about 80% of the other tracks on that CD were new to me and my reissue awareness too. And while at it, I did a bit more browsing on internet sales lists and came up with 5 or 6 more CDs, most of which held an amazing ratio of stuff I knew existed but had not come across on reissues before. Am now eagerly awaiting my Amazon shipments. So more than ever now I am inclined to agree with what Paul Secor said above: There's so much music readily available - good, bad, and in between - that I can't be bothered worrying about something that I've never heard. Plus, I've been around long enough to have found that, in the end, just about everything gets reissued in some form or other.

Keep cool Chewy, keep cool ... You and I, we are not going to rewrite history. I found this pic in that Swedish jazz mag because I have an almost full run (still missing 7 issues) of that mag from its start in January, 1939 to its demise in December, 1963. No doubt they published that pic after it had been run in U.S. newspapers/tabloids or wherever. Though this jazz mag was a bit more tabloid-like" (with a layout not unlike that of contemporary Down Beat) than the other Swedish mag, Orkester Journalen, no way they had a "scoop" or a first there. As for the caption, it says just what I quoted (I do read and understand Swedish well enough to cope with the contents of these mags).

Uh oh ... Sounds like straight from the horse's mouth indeed. And rather amazing that they should go so far as to run candid pics like this in the press of the day (assuming the pic actually comes from this incident): This appeared in the July, 1955 issue of the Swedish jazz mag "Estrad". The header should be self-explaining, and the caption says a.o. "The police suspected murder but it was found he fell out of bed after a narcotics orgy and broke his neck and was then dumped out there."

Does the symbol on the LHS mean that this LP is a dog? It's an EP, not an LP, so at worst I'd say it's a puppy, not a dog. My main reason for buying that record was - believe it or not - that at the time I owned a car like this (Panhard Dyna Z). The music is obviously a matter of taste but rockabilly fans who've already been around in the 80s will find it quite amusing. Anyway, here's another one in the style shown quite often above: And talking about "lost her shirt", here's another one (almost ...):

Check out the very first reply in this thread. You will see that that I May Be Wrong is identified incorrectly and is actually "Lullaby In Rhythm". BTW, the 4th track on that LP comes from a 1952 gig date (I was about to ask about that but then saw the solution in the very first reply above).

The OD story has been refuted by others because according to various accounts and confirmations Wardell Gray was one of the few of his calibre and in this environment who was NOT a junkie. Maybe he caught the habit very late in his life but still there are those who doubt it.

There's one big difference between Shearing on one and Bud and Dodo on the other side: the latter were able to see the keyboard. Being blind limits the intervals you can finger - for wider leaps between bars you have to see the keys. That's why there are no blind vibes players. As a blind player you always have to stay down on the keys and feel them and move in close steps. That necessitates a different meldodic style. Consider the tunes he chose etc. Just for the record, Mike: That MOST DEFINTELY wasn't me who said the above. Please don't put words like that into my mouth as long as others even drool about the erratic, aimless keyboard fumbling of people who had massive mental problems and yet unfortunately were recorded in their baddest moments. @Jeffcrom: Referring to your recent purchases, do you really doubt I would have doubted your open-mindedness? Our disagreements about the relative merits of early Shearing were more a case of different tastes, weren't they?

This one?? As it happens I have those 8 tracks from that 10in LP on this one (12in) too: This one is on the (U.S.) Hollywood label (LPH 30), only that the tracks now are "credited" to Connie Bennet, Bill Smyth and the Harlem-Aires, whereas the "credits" on the Solitaire LP go to the "Manhattan Rhythm Boys". Both labels are part of those plentiful budget pressings of the 50s, of course, with rehashes of previous releases, sometimes with rather fanciful artist "credits" and arbitrary changes of the song titles (to make them look like new(er) releases). Part of a competition of "out-crowning the Crown label" on its own turf. The music ain't bad at all on these records but so far I haven't bothered trying to find out who's really hiding behind those artist "credits". Anybody else has??

What dude are you talking to, dude? Anyway, I have an original REX 78rpm by the Johnny Barbera Quintette (26027) that clearly says "Licensed for radio broadcast" too so that Teddy Edwards record does not seem to be an isolated affair on that label. I remember having seen this (uncommon) AFFIRMATIVE text elsewhere too but for the life of it cannot recall the label or record.

qcolinmce: You mean what I make of all those never-reissued and never-to-be-reissued 78s that jeffcrom quotes in his posts in the "What 78rpm are you just playing?" topic? Can be sort of frustrating, being confronted with all that rare stuff. Same feeling while browsing through those "First Pressings" books by Galen Gart or discography entries everywhere. OTOH, coping with the problem you mention (which has kept me worried at times too) is made a LOT easier by 1) realizing that what you have in your collection is more than you will be able to really absorb in the rest of your lifetime anyway, 2) remembering that in the CD age reissues still seem to abound and you just have to look hard enough to find more never-before-reissued items almost every day, 3) realizing that the more you learn about the history of your favorite music, the more music you discover that will probably never become available to you (apart from rare originals) so if you really want to remain interested in the music and be ready to discover more (and you need to learn more to be able to make discoveries) you'd better overcome this feeling of never being able to get ALL you want really fast! That said, and getting back to what you said in your post, do I have to assume that the fact that I recently ordered THIS http://www.amazon.com/Discography-Western-String-1928-1942-Discographies/dp/0313311161/ref=sr_1_1?ie=UTF8&qid=1295252790&sr=8-1 through Amazon can only be described as an act of masochism, then? :lol:

Found this at a local fleamarket yesterday for only 6 euros (DUX label, 1965 recordings; not sure if it is an original pressing but at any rate it looks like a very early pressing). RECOMMENDED for all those who are fascinated by that combination of jazz and traditional folklore. The lyrics as sung by traditional folk singers take some getting used to but the combination with the "jazzed-up" versions by the participants is really intriguing. And the arrangements by Jan Johansson are particularly appealing IMO.

I think there is a huuuuuge mixup there: Check out the relevant entry in the Leadbitter/Slaven BLUES discography and you will see that there is a sort of MAIN header in BOLD prior to the session PRECEDING the one we are talking about (i.e. the one held on 11 Oct. 57). This generic "main" header reads: with LLOYD LAMBERT & HIS ORCHESTRA (4088/90) or with JOE MORRIS BAND (4109712) and then details of BOTH sessions follow after this "main" header as a sort of "sub-entries". Now if whoever compiled the entry as given in the starting post failed to read up to the end of the BOLDFACE line it may have been relatively easy to combine Lloyd Lambert as the nominal leader with Joe Morris and the others. Still it is puzzling to see all those jazz bigwigs get together again for a Joe morris band reunion for that Guitar Slim session. Pete Lowry's explanation as told to Paul Secor makes sense to me but still ... I figure that given the ups and downs of his career, Elmo Hope may have been ready to grab any session man gig he could make (assuming he'd been East at that time anyway) but would Percy Heath or PJJ have been that keen on this type of "reunion" to go to any lengths about it? Yet it's a charming idea and another indication that jazz and R&B weren't THAT far apart in the minds of the musicians after all. Now of course if Ken Vail, for example, did another of his "Jazz Diaries" on the Modern Jazz Quartet and proved conclusively that the MJQ happened to play a concert tour at the other end of the world while that Guitar Slim session was taking place then the plausibility of the presence of Percy Heath (and maybe others) would definitely be shattered.

Thanks for that follow-up info. It helps to complete the overall picture.