medjuck

I tried searching but can't seen to find the the right key words. I'll try again. Any suggestions?

Is there some way to get the discographies from oop Mosaic sets on-line?

91! I thought I had a done pretty good by collecting 33 from various Hampton, Hawkins, Berry, etc compilations. I sure wish someone would re-issue all 91 again.

Wierdly enough I read about it on a political blog on the Huffington Post! Was about to post the info when this thread appeared.

I've probably taken Buddy Guy a bit for granted because I used to go dancing to him and Junior Wells at the El Mocambo in Toronto. One night my son was watching a tv show with Eric Clapton and various guitar players. When Buddy came on my son said "Forget Clapton-- This guy is amazing!"

Hey, and he used Milt Hinton. Played Branch Rickey to Hinton's Jackie Robinson.

No doubt that was just a coincidence

I saw the Quartet in Montreal in 1964 or 65. Probably spring of '65 because I was fairly familiar with their work by then. It was very intense. I sat very near the stage but couldn't hear Jimmy Garrison at all except when he soloed, probably becasue I was on Elvin's side of the stage.

Bobby Jasper wrote an essay about Elvin's druming behind JJ and Jasper. You can find part of it in the notes to the JJ Mosaic set.

I have a vaguae meory that Thomas was hanging around Montreal when I moved there in 1961 b ut I didn't know enough to go see him when he performed.

Hail to the King!!

Right. That's what I hear from Danny Barker but not from Reuss. (But then again my ears are shot from old age and too many rock concerts.)

I first posted this in the thread about the Chu Berry Mosaic, but got no reponse: A couple of times in the notes Loren Schoenberg refers to the guitarists playing "broken chords". What exactly does he mean? (Where he mentions them in regard to Danny Barker I hear Barker playing every note of the chord separately but where he talks about Allen Reuss playing behind Mildred Bailey I just hear regular chords.)

Yes, it became clear early-on that these young men probably did not rape their accuser. At least they were never convicted of a crime and never had to serve unjustified prison time, unlike the state worker in Wisconsin whose guilty verdict was overturned by a 3 judge panel last Friday. She was railroaded last fall during the Wisconsin gubernatorial race by an overzealous US Attorney, who was proudly doing the White House's bidding. Man, it's amazing how you guys can stick your hatred of Bush into just about every post! Isn't Nifong a Democrat??? Didn't he use this case to win re-election???? I didn't feel the need to mention that before, I was trying to just keep this on the case itself.....since this will no doubt push this into the political forum, how about some names, in the story you mentioned? See http://www.madison.com/wsj/home/local/index.php?ntid=128161

I think that track was originally on the Mercer label. I'm not sure who, if anyone, owns the rights and more important, the masters of the Mercer material.

Well I know Roach and Pettiford played with the band but did Rodney?

So it goes.

A couple of times in the notes Loren Schoenberg refers to the guitarists playing "broken chords". What exactly does he mean? (Where he mentions them in regard to Danny Barker I hear Barker playing every note of the chord separately but where he talks about Allen Reuss playing behind Mildred Bailey I just hear regular chords.)

It's done. I think it will be released this fall (only a year late). It has no added performances, but it is in stereo and looks and sounds great.

As I remember it, Mingus was famous for haranguing noisy audiences. I thnk it was Charles who announced to a talkative crowd: "Tell me where you work and I'll come and bother you some day."

I'm past the half way mark on Against the Day. Only 500 pages to go.

Then why don't they go to a club that doesn't have serious music?

I saw Archie Shepp around the time of Mama Too Tight and during a brief pause in one of the free numbers somone yelled out "One more time!". As I remember it a lot of people left during the performance but to do so they had to pass right in front of the band. I thought it was a great piece of theater. Of course I thoght that about a lot of things in my life at the time.

In a different thread Larry Kart wrote: " far more alarming and revealing to me ... are the experiences I've had in jazz clubs where people pay substantial cover charges to hear name acts and then proceed to talk at a fairly high volume level throughout the performance. " I began listening to jazz in clubs in the early 60's and I've rarely been to club where the noise factor wasn't distracting. As well as talk you often have the added din of cash registers, glasses being washed and drinks being served. Outdoor venues and large arenas are even worse and some rock fans seem to think they aren't enjoying the music unless they're screaming while the music's being played. About the only places where audiences are reasonably quiet while the music's being played are small concert halls. I think I may be in the minority in letting this bother me. I've embarrassed my son by admonishing people in a club who were chatting away during a performance by a rather quiet local singer song writer. (Though I gained some respect from him when the owner of the club suggested that those who wanted to talk go outside.) I don't think you have to sit reverentially while int he audience and I don't agree with a review I remember reading where the reviewer complained that the audience at a Joshua Redman performance acted like a crowd at a basketball game with their whoops after every solo-- sounds like fun to me. But what is it with people who pay to hear music and then don't listen? (Of course some of them have been immortalized on record . Maybe that's what they're hoping for: recognition.)

Is this available on DVD?