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I found these LPs today-- On Limelight-- Dizzy Gillespie, The New Continent, and Art Blakey, Buttercorn Lady. On Prestige-- Mose Allison, Creek Bank (Prestige 7152). On Blue Note (Liberty era)-- Wayne Shorter, Moto Grosso Feio Also, Cat Anderson and the Ellington All Stars, Ellingtonia, on Wynne Records, and Woody Herman, 1964, on Phillips. On CD, The RCA Victor Jazz Workshop, the Arrangers.

You Don't Know What Love Is has long been my favorite jazz flute performance. I'm also partial to the two alto songs on the LP-Miss Ann and The Madrig Speaks, the Panther Walks.

The Healer is a nice recording, I like it. There's another fine duet with Jon Jang.

Pete Jolly Trio and Friends--Little Bird (Ava)

A plug for two DIW Ronald Shannon Jackson's--What Spirit Say and Shannon's House. What Spirit Say features James Carter (one of his best recorded appearances) and guitarist Jef Lee Johnson. A top notch Decoding Society recording. Shannon's House--A bit different, as it features two DFW area musicians (in addition to the fine guitarist Jef Lee Johnson), Rachella Parks (a soulful, gospel tinged saxophonist) and keyboardist Thomas Reese. This one really grew on me over time--it's over ten years old now and Shannon Jackson has not released a new recording as a leader since this one.

I was going to attend, but talk about bad timing--coinciding with torrential rains, hail and high winds bearing down on the city. I'm afraid I just went straight home.

He was obviously a fine and versatile artist--just not entirely my cup of tea.

Are you referring to the 1940 recording Tatum made on Decca--by coincidence this popped up on my ipod yesterday--an amazing performance.

I don't think he's still married to the beautiful woman on some of his covers.

I saw him several times in the 1980s and found him to be okay, definitely not great.

I can't imagine that anyone who has seen Buddy live at a peak performance would agree with that conclusion. A Man and the Blues is a weak Buddy Guy performance, and an excellent Otis Spann performance. Hoodoo Man Blues is a classic Junior Wells album, with Buddy Guy performing ably in a suporting role.

Bob Stewart is on tuba on most of Arthur Blythe's recordings on Columbia--including Lenox Avenue Breakdown, Elaborations, Illusions, and Blythe Spirit.

Cadence has 48 DIW titles for sale on its website--most are $16.

For Barbeque, I recommend Rudy's on I-35 in Denton. I'm not a fan of Sammy's. I worked nearby for about five years and would be perfectly happy to never go there again. For Tex-Mex, a few suggestions would be R.J.'s in the West End, Blue Goose on Lower Greenville, Matt's by the Lakewood Theater, or Rafa's on Lovers Lane and the Tollway.

I assume Charnett Moffett. Morganized's description does not sound like Charnett. According to McCoy's website: McCoy Tyner Trio Curtis Lundy, bass Eric Kamau Gravatt, drums

One might infer that all of these listings from the Jazz Record Center are from Leonard Feather's personal collection, and that he basically only listened to the records once or twice.

Ray Bryant--Groove House (Sue) Willis Jackson--Neopolitan Nights (Prestige)

My favorite cut from the Ornette on Tenor sessions is not on the album--it's on later released The Art of the Improvisors--Harlem's Manhattan.

High Energy is way better than Superblue, if you haven't heard it.

No, I don't believe so. Coltrane's trumpet partners, besides Miles Davis: Wilbur Harden, Donald Byrd, Freddie Hubbard, Don Cherry, Idrees Sulieman, Webster Young, Bill Hardman, Johnny Splawn--mostly on Prestige.

I didn't make it. Who was on bass?

Hot Horn on Everest? Is that a Freddie Hubbard or Junior Cook record? Never heard of it.

I guess that it is a matter of taste. For my taste, Buddy Guy has a tendency to sometimes go a bit too over the top in his guitar playing. I find his work most enjoyable when he is loose, but still somewhat restrained and concentrating on putting across a blues song rather than dazzling an audience with fretboard gymnastics. I think that several of his Chess recordings are genuine masterpieces, and not just for the guitar playing. Sure, I prefer the unrestrained Buddy. It's not too over the top for me.

I have that on LP and like it.

A Man and the Blues is a nice collaboration of Otis Spann and Buddy Guy, but is pretty low key as far as Buddy's guitar is concerned. His Chess recordings are okay, but not really among the finer recordings on Chess, for the most part. They simply did not let him play like he really plays. I find it puzzling when someone prefers his early recordings--but this seems to be pretty common among blues fans. The CDs that he issued as a private bootleg series from Legends two or three years ago contain some of the actual best Buddy Guy recordings.