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Melvin Sparks--Groove on Up (Savant) Bill Dixon--Intents and Purposes Mali--Ancient Strings Orchestre Poly-Rhythm de Cotonou--Echos Hypnotiques 2 (Analog Africa) Freddie Hubbard--Pinnacle

There's an album with some would-be blues player named Joep Pelt-i yougoba. Pelt is terrible and sinks almost every song he plays on, but there are two tracks on the album where Pelt is either not playing or is submerged, and Traore shines--but the recording is not really worth buying except for a minimal price for only six minutes of good music.

The Greatest of Dizzy Gillespie (RCA black dog) Etta Jones, So Warm (Prestige, blue label)

There's another acoustic Lobi Traore recording, which may be his last recording. It's a solo recording--he thought the label was going to record his electric band but it was a misunderstanding--as a compromise, he was recorded solo--it's also a wonderful record--Rainy Season Blues (Glitterhouse). The liner notes give a poignant taste of his life--his eagerness/desperation to record his music--after recording this album in a single sitting--he left to perform at a wedding--then a midnight/all night engagement with his electric band at a local club.

I'm really impressed with the CDs from Kanaga Systems Krush, a small label based in California dedicated to contemporary music from Mali. http://systemkrush.com/store/index.php Only nine CDs in their catalog, but the three I've heard so far are stellar. This morning, listening to Madou Sidiki Diabate, Traditional Kora Music from Mali. Wow--what a stunning and beautiful recording. The label also has two recent releases from Lobi Traore, an acoustic CD (two guitars, with percussion on some tracks), and an electric band (Raw Electric Blues from Bamako)--both are fantastic records. On order now, Zani Diabate.

Don Patterson-- Opus De Don (Prestige, blue label)

Because it's more fun than fixing potholes? They fired those guys. In truth, I kind of like the Arch--it should be cool whenever the Trinity floods next time.

Looking out my office window, I'm thinking, why is Dallas spending millions of dollars to erect and construct a single white arch (with interlocking cables), perched atop a "bridge" which looks just like any other typical freeway overpass or bridge, across the Trinity "River" which most of the time resembles an anemic creek, all leading toward an apparent nowhere part of town?

There are two new and a used copy for sale on amazon.com http://www.amazon.com/gp/product/B00004YL9T/ref=s9_simh_gw_p15_d0_i1?pf_rd_m=ATVPDKIKX0DER&pf_rd_s=center-2&pf_rd_r=02BK3HH4WA8FHSMVJG3M&pf_rd_t=101&pf_rd_p=470938631&pf_rd_i=507846

John Handy III (Roulette) More Drums on Fire (World Pacific)

Yes, that twofer has the Mingus overdubbed bass part on the Bird/Gillespie tracks. I think all of the quintet tracks. The trio tracks, I don't believe they are overdubbed.

Who is playing now, and making interesting music? Jean Michel Pilc is one, with the Moutin Quartet at the Green Mill. Howard Reich Arts critic May 1, 2011 When an outside musician steps into a long-running band, the sonic balance of power shifts. In the case of the explosive Moutin Reunion Quartet, which opened a two-night run Friday at the Green Mill Jazz Club, the personnel change produced triumphs and disappointments. The absence of pianist Pierre de Bethmann, who's recovering from an accident, meant that Jean-Michel Pilc would be manning the keyboards. Pilc plays jazz the way Vladimir Horowitz played the classics: volcanically. So a great deal of listener attention inexorably gravitates toward Pilc, particularly when he flexes his famously Herculean technique. Add to this the formidable partnership of bassist Francois Moutin and drummer Louis Moutin – twin brothers who approach rhythm with nearly identical ferocity – and three-quarters of the band frequently operates on overdrive. http://www.chicagotribune.com/entertainment/music/ct-live-0502-moutin-reunion-20110501,0,7727437.column Vijay Iyer Trio/Robert Glasper Trio concert review from Village Voice. http://blogs.villagevoice.com/music/2011/04/robert_glasper_vijay_iyer_nyu_live_review.php

The Miles Davis Experience, with Ambrose Akinmusire, November 2, 2011, Austin, Bass Hall. Roy Haynes, March 24, 2012, Austin, Bass Hall.

Billy Hawks--The New Genius of the Blues (Prestige, blue label)--absurd hyperbole for an okay performer.

I had the same question.

All of the Art Yard releases are recommended. I found this description of the Transparency box set on the internet: The first collaboration between Transparency and the Sun Ra Archive THE ETERNAL MYTH: The Early Music History Of Sun Ra (Part One) Transparency 0316 An estimated 14 CDs (13 hours of ultra-rare music plus hours of Sun Ra speech interspersed) with a 5" x 5" paperback book (approximately 80 pages) in box set We are now accepting pre-orders for this mind-blowing Spring 2011 release — at the distributor price of sixty-five dollars ($65) — plus priority mail shipping ($5 within the U.S. — $10 to Canada — $12 to Europe). Please calculate your correct total — and paypal transfer that amount to transparency2011@yahoo.com. Your direct pre-order is very much appreciated. We hereby proudly announce the massive track listing for Part One, which ends at 1958 — and you can also see the beginning of the 1960′s box (Part Two) at the end of the spreadsheet here. Sun Ra’s own voice introduces every section in both volumes — a half-hour sampling of which can be heard in rough draft ‘infomercial’ form in the three MP3 files e-mailed along with this. Sun Ra – The Early Years – Box Set Description Track listing here: http://amiscellany.info/2011/03/25/new-release-sun-rathe-eternal-myth/

In addition to Cosmos and The Other Side of the Sun, My Brother the Wind Part II.

I wonder what this is (from the dustygroove site)... Eternal Myth Revealed Part 1 – The Story Of A Universal Being And His Music 1933 to 1959 (limited edition 20 CD set) Sun Ra Mid-June, 2011

ABA Journal article on copyright issues raised by the Bill Savory collection. http://www.abajournal.com/magazine/article/a_trove_of_historic_jazz_recordings_has_found_a_home_in_harlem_but_you_cant?utm_source=maestro&utm_medium=email&utm_campaign=tech_monthly

Mine's a green label of that one too. I wonder if it ever came out in blue label? Yes, here's a blue label one. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&_trksid=p4340.l2557&rt=nc&nma=true&item=350456173165&si=fmwK6STp5kln41w4fE1DH7USVlg%253D&viewitem=&sspagename=STRK%3AMEBIDX%3AIT#ht_1334wt_1141

Last night, I successfully washed away Cyrus Chestnut induced ennui, with a blazing Lucky Peterson show once again at Tuckers Blues. Tonight was just a trio with Lucky on vocals, keyboards and guitar, with bass guitar and drums, plus his wife and one other woman guesting on a few vocals. His trio was sounding rather good tonight--the last of three sets was the highlight, just the trio in a tour de force set featuring Lucky's blazing guitar.

Almost all of Mingus' compositions work for me. He has the highest percentage of beloved (by me) compositions of anyone in jazz--and it's an amazingly diverse set of compositions, yet at the same time unified by the same recognizable vision.

Ali Akbar Kahn--The Classical Music of India (Prestige, blue label) Miguel Aceves Mejia--Pa'Todo El Ano (RCA Mexico, black dog)

I had the same experience a few years ago in Boston. "Rigor Mortis!", as Babs would say. And they were pompous--the drummer told us that this was "high level" music.

Cyrus Chestnut at Scat Jazz in Fort Worth. I was very bored and left after one set.