Dan Gould

You are correct on 1, 2, 4, 7, 12, 17 and 19 but boy did you mess up the title of #15.

Well it won't be long now HP, and I can say that Harold Ashby, while he recorded as a leader once for Black & Blue, does not appear in this BFT. Nice job though on song titles (way better than I ever am) and kudos for actually identifying the instrumental versions of "What did I do ..." which no one else actually did, I don't think. Glad you enjoyed the discs and thanks for your comments.

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I guess we all stand corrected but I would want to know how Shelley Carroll came to believe it was "our" Don Wilkerson's 45. Supposition as it's been for pretty much everybody?

I wouldn't be surprised if the Uptown website is shipping these releases immediately but I do know that if you want to be among the first to get a copy, go to cityhallrecords.com where it's only $14.43, US shipping included. I got an even better price as I found 5 Ace Records releases that are out of print and got the 20% volume discount. But since City Hall Records is the distributor they aren't waiting til the release date to ship. On the sound quality: I just finished listening on my high-quality computer speakers and the sound is perfectly fine. I'm sure I'll listen on the studio-quality monitors in my music room at some point but I doubt they will reveal any noticeable flaws. The source materials and the mastering is very good, audio-wise. Music-wise, I give this a strong thumbs up, with a few caveats. The radio b-casts that start the disc aren't the greatest, musically, because there's a bit of talk from the announcer over the group, plus two tracks with vocals. The vocals are uniformly fine but personally I would have preferred more from the band. The band really gets cooking with Howard's Blues, track 6, and the balance of the disc is a great glimpse of the earliest West Coast bebop band. And I should also mention that as I suspected, Maggie is the musical focus, with much smaller opportunities afforded to Teddy Edwards and the others. Still another great release by the premier archival label Uptown.

I am certain these are CD issues sourced from tapes that have floated around the trader networks and then sites like Dime. The Mobley I am sure is the one that has been discussed here before: I have my own transfer from reel to reel tape, courtesy of a board member, of Rollins with Drew and I presume its the same or largely he same concerts. The Dexter I'll bet is a duplicate of a Moon release from the mid-90s, had pretty crappy sound and I don't think Kenny Drew is on all of it, its really more of a compilation of sorts; Red Rodney is on a track or two, fwiw. BTW I'll give the bootleggers credit for pretty decent covers.

Unless things have changed since his autobiography, or he didn't tell the truth then, B.B. should have no financial reason for continuing to work. But his book made it clear how he pretty much lives to perform. So I've always presumed that is the reason he is still out there, albeit on a much less extensive schedule than he used to have. I've known for a while that his shows have featured less singing and more talking but I hadn't heard of him having such a bad night. Hopefully this was a medicine-related problem as claimed. I've seen him a couple of times in Boca Raton since 2000, both times were before the point that his speaking took up more and more of his sets. The shows I saw were great - but I seriously doubt I'd pay to see him again. Not because I suspect I'll feel ripped off, but because tickets weren't cheap then and I am sure they are no better now. I'd still consider an hour spent in his presence to be a blessing. And I have to say that I can't for the life of me imagine someone running down One Kind Favor. If its the last CD he records its a fantastic way to end a recording career.

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Not really young people. Check out this video of kids trying to figure out a Walkman: http://www.youtube.com/watch?feature=player_embedded&v=Uk_vV-JRZ6E

Stanley Turrentine and The Three Sounds, Blue Hour The Three Sounds, Moods Lee Morgan, Infinity (I wasn't listening in the 60s so I am not concerned that it wasn't issued until the LT series) Hank Mobley, Soul Station Oliver Nelson, Blues and The Abstract Truth Benny Carter, Further Definitions

The more I think about it the more I am convinced that there were two Don Wilkerson's on that date and it just sucks that the author didn't recognize the name and probe further about the details of the recording. So I withdraw my assertion that two Wilkerson's wasn't very likely. What's dispositive to me is Jim's statement that Shelley Carroll told him it was Don's recording, that he put it out. If I'm not mistaken Don wasn't just a musical influence, he and Shelley were tight. I almost want to say that Shelley lived with Don's family or something like that? So wasn't repeating a supposition but stating what Don told him directly, and probably contemporaneous with the time the record was in distribution. Now the pieces fall into place ... he needed a vocalist, and he called his uncle or cousin or whatever the familial connection was, and 30 years later we're left with the presumption that the vocalist was the only "Wilkerson" on the date. If the author knew more about blues/R&B/jazz he might have recognized the name of Don Wilkerson and probed the old man a little more but alas he did not. I also don't think, contra my friend Paul, that this Don Wilkerson appropriated any name as his own. This isn't Sonny Boy the 6th or something. These are just two people from the same extended family who both played tenor and answered to "Don".

I don't know but it looks like there are at least two pressings of this, because Jim investigated the address listed on the 45 pictured in the NYT article, but the earliest thread we've had about this, Jim posted: So, Jim's copy implies a Don Wilkerson ownership interest but that gets no mention in the subsequent release when it was supposed to be lifted from this mysterious LP. I am definitely more inclined to believe that two Wilkerson's took part in this session, probably an uncle, who knew one of the mysterious lady blues singers and provided the vocal. Here's the link to the earliest thread, if you missed it above. Soul Stream also owns a copy and believes its "the" Don Wilkerson on alto too.

Well the article certainly claims that this Don Wilkerson is the vocalist and presumably the saxophonist. What are the odds of two Don Wilkerson's on one date? Just to clarify Jim, you have heard the 45 and believe yourself that it is Don the BN artist? That was your statement in the prior thread I linked above.

This Don Wilkerson is supposed to be in his 90s. "Our" Don Wilkerson was born in 1932, per AMG, and would be in his early 80s if alive. If this Don gave L.V. the nickname "Slack" and Geeshie called her that in the 1930 recording session, then he'd really have to be a different, older Don Wilkerson. Plus did anyone notice that his given first name is John? If anyone has the Wilkerson liner notes handy I'd think they might mention if Don is his first name or if his given name was John D. Wilkerson. I think its fairly clear that, discographical presumptions and Jim's ears notwithstanding, there's no great mystery here. We just presume a Texas tenor named Don Wilkerson has to be "the" Don Wilkerson when it's not. Last thing I can add - I have a CD transfer of recordings of Don Wilkerson at the Show Biz in Houston in 1963. There is a male vocalist on "Sticks and Stones" and while I cannot "know" is Don, listening to it again, its a noticeably different vocal compared to the snippet of this 45. FWIW.

Fascinating article. Seems we tossed around the question of whether that "Low Down Dirty Shame" 45 is 'the' Don Wilkerson a few years ago: Jsngrey states he's heard it and it IS "our" Don - but how can that can't be reconciled with Don Wilkerson dying in 1986 and talking with the author of this piece in 2013? This seems definitive proof, I guess, that the Don Wilkerson in the article can't be the one who worked with Ray and recorded for BN, Jim's judgement notwithstanding.

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Yeah I was thinking purely of instrumental influence where obviously both quintets, but especially the second, were very influential on the music following. Not digging the electric Miles, I don't really care about how it influenced others.

I don't understand Miles in this list of the pantheon of most influential. Miles is sui generis as you put it for Duke. What trumpeters after Miles sound like Miles? Maybe I'm missing someone but they all seem to come from Dizzy/Clifford or Freddie Hubbard. I think Bud and Clifford have to be on the list of most influential.

If anything makes me hesitate its the number of tunes that are 3 minutes or less ... kinda tells me that, with another tenor player listed, we might not be getting nearly as much Teddy Edwards, and truth be told, he's not a small part of what made this release, at first blush, look so exciting. Oh hell I'm still gonna buy it ...

Not to hijack the thread but ... wait a second ... Emergency! ?? This is a show that holds the attention of an adult? I mean, I watched it as a kid, thought it was pretty cool ... and never thought about it after it went off the air. Or, at least I thought about Adam-12 a lot more. So ... where is Emergency! on nowadays, and what exactly went over my head when I was a kid? Color me confused and curious, and mostly the former.

Nah, though I could try to head down to Fort Lauderdale next weekend and plunder the stock of the *other* record store left in south Florida, before it gets raided by the other old fogeys. But I prefer the one I went to on Saturday, I was telling the owner how much I appreciate the fact that he cleans his stock before putting it out. Makes it so much easier to judge condition, I wish it were SOP.

No, used for $5 with a cover that could be generously described as VG-. Don't care about the Wes Montgomery Record Store Day releases; I can't fathom why someone would pay so much for something that isn't even the full release. I'll happily wait for the CDs.

I'm done and finished ... anyone else? I figured why fight the crowds of old men pawing through the jazz section, so I went to my favorite record store ... the only record store ... a little 'early'. Walked out with a James Cotton Vanguard LP, Cut You Loose, for $5 and just like that, Record Store Day was over. Anyone else thinking like me or is everyone going to wait until Record Store Day actually arrives?

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