Brownian Motion

Jazztone lps were the only long-playing records I've run across that had milled edges. If you accidentally dropped the stylus onto that edge it made a bloody racket and filled you with dread that your stylus would not survive the abuse. Although the later Jazztones were high quality vinyl--even with their serrated edges--the early ones were made of some kind of cheap, lightweight plastic and wore out quickly no matter how tenderly you treated them.

I'll second Sammy Price, and add Albert Ammons, Jelly Roll Morton, Pete Johnson.

Freddie did a date with Sammy Price--I think it was '44. It's on Classics. And if memory serves Freddie played with Jimmie Lunceford in 1942, and cut a solo or 2 with the band, but I don't have the specifics.

Fourty years ago, when I began listening to jazz, the music was embroiled in controversy. Such figures as Archie Shepp, Sun Ra, Eric Dolphy, Ornette Coleman, Cecil Taylor, and John Coltrane were accused by establishment critics of being at best misguided and at worst charlatans and hustlers. Now some of the hostility toward these musicians was simply racism. That's undeniable. But some of it wasn't. Accessability was and is a problem with many or all of the aforementioned. Yet today each one of these musicians is firmly ensconced in the pantheon of jazz greats, with a very vocal cadre of champions eager to convert others to their cause and fill holes in their collection of the Great Man's Works So what gives? Does every jazz musician eventually find an audience, even if it's as "the most under-rated jazz musician of all time"? Or are there extremist musicians whose vision was so personal and so peculiar that they never developed a critical mass of adherents? If so, who are they? And have there been fakers in jazz so transparent in their knavery that they were left by the roadside as jazz history rolled on?

I'm a night person all the way, although a dreary dark day will work almost as well. Sunshine and jazz don't mix.

Lucky recorded as a sideman on the early "third stream" effort by John Lewis and Gunther Schuller titled "The Modern Jazz Ensemble Presents a Program of Contemporary Music", which was reissued by Verve. Lucky plays magnificently on the cuts on which he appears, as do the other musicians involved: Stan Getz, Aaron Sachs, J. J. Johnson, Tony Scott. This session is OOP; grab it if you see it.

"Tricotism" is one of his best efforts. It's OOP now, but copies surface often. Anything he did in Paris in the 1950s, including the aforementioned date with the blues pianist Sammy Price. He also did a great date for Urania called "Accent on Tenor Sax" which was reissued on a Fresh Sounds CD, but it's OOP and HTF.

What tenor saxophonist appeared in the 1950s on record dates with Monk, Teagarden, Milt Jackson , and Sammy Price? Lucky. He's a great one.