paul secor

Rich Gossage Goose Goslin Goose Tatum

Cow Cow Davenport Bix Beiderbecke Dan Hicks and the Hot Licks

Thanks, Paul. Funny, I did a search for it on the Bear Family site but never found it...finger trouble, maybes! Anyway, I see that the CD contains 12 songs (plus what I presume is an additional "information" track") whereas my LP contains only the first 8 songs. So this looks like it's a "must-have"! The extra four tracks were on a Biograph CD (previously issued on an LP) and came from the same sessions.

Here's a link to Bear Family: http://www.bear-family.com/en/blues/classic-blues/rhythm-n-blues/prodigal-son.html with information on the release. And I imagine that the various Amazons will carry it.

I'm not sure which Atlantic reissue program you refer to. I have around 10 Japanese Atlantics 60th Anniversary issues - WPCR 2xxxxx, they all sound excellent. I wasn't aware that these issues were thought to suffer from loudness/compression etc. I try not to read these threads....I only get anxious Good move. These threads can make you crazy.

Star Trek Moon Maiden Sun Ra

Incredible, gutty, connected rhythmic drive: One feels he could go on like this forever. Thanks to you, too. I'll keep listening.

Barry Blitt's cover for The New Yorker, "Jury of His Peers" says it all for me:

Bear Family is reissuing Rev. Robert Wilkins' Piedmont LP which has been out of print for many years. The recording is due to be released in March and will also include four tracks from the same sessions which were released by Biograph. This is a great collection of music, to my ears, the best of all of the blues "rediscovery" recordings. For me to say that is saying a lot, but I don't believe that I'm exaggerating. I should mention that Rev. Wilkins made blues recordings beginning in the late 1920's through the mid-1930's and then left secular music for religious music. Having said that, I have no doubt that anyone who loves blues music will love this recording. It's one not to be missed.

(Shaking head): Paul, Paul, Paul.... Okay - if folks can enlighten me as to what I'm missing, my ears are open. If nothing else, incredible fluidity/fluency of execution and superbly full & even tone in all registers. Chu Berry played without hesitation, intellectually or physically. Remarkable even today, but especially so then, in light of the relative "newness" of the instrument, not just to "jazz", but to music as a whole. That much is objective. Everything else, subjective. Thanks for your feedback, Jim. I'll do some more listening. Jeff sent me a PM which he gave me permission to post here. I'll do that in hopes that others might pick up some ideas about Chu Berry: Jeffery's Essay on Chu Berry: Chu was Coleman Hawkins disciple, but he was a lesser mortal - he was not a near-genius like Hawk. But he had his own voice, and there were areas in which he perhaps exceeded his idol. First of all, Berry was the most technically accomplished tenor saxophonist in jazz after Hawkins. He had a beautiful, round sound, "prettier" than Hawk's, but with plenty of fullness and body. And that fullness extended through the entire range of the horn, from the lowest notes to the altissimo register. And he was perhaps the first master of the altissimo register in jazz; he effortlessly took his lines above the "normal" range of the horn in a way that Hawkins never did. He didn't use that register that often, but he never used it as a novelty - his high notes didn't sound like "freak" notes, they sounded like all his other notes. He used the altissimo register in the same way Steve Lacy did later - melodically - not like Illinois Jacquet did, to create excitement. But his technical mastery of the horn wouldn't matter if he didn't have a story to tell. Chu's improvising doesn't have Hawkins' harmonic sophistication (no one but Art Tatum could match Hawk's grasp of harmony in the 1930s), but in some ways, it's more "modern." Berry had a more linear, melodic approach than Hawkins; it reminds me of Benny Carter. I don't know if Berry was influenced by Carter, but Chu often plays similar long-lined melodies, which often contain striking, unusual note choices. And at his best, he often constructs asymmetrical phrases which flow over the regular divisions of the tune. Have you heard Berry's solo feature with Cab Calloway, "Ghost of a Chance?" It's one of the great big-band saxophone features in recorded jazz. When I wanted to hear it tonight, I had a choice of hearing it on LP or 78. (I don't have it on CD.) I chose the 78, because Chu's sound is so "present." The record is the best illustration of his mastery of the altissimo register, but it's more than that - it's a continually inventive variation/improvisation on that tune. If you haven't heard it, track it down on the web - it's worth your time. And Berry was only in his early 30s when he died. I would love to hear how he would have sounded 10 or 15 years later. And later: here's a sentence I wish I had added to my "essay." Hawkins often sounds like he is (brilliantly) running chords, while Chu is playing lines.

David Justice Judge Dread John Locke

Eric Dolphy: Other Aspects (BN)

Came across "praxis" - 1. a: exercise or practice of an art, science, or skill b: customary practive or conduct 2 practical application of a theory - in a book I'm reading. Prior to this, I only knew praxis as a Greek record label that released recordings by Cecil and the AEC.

(Shaking head): Paul, Paul, Paul.... Okay - if folks can enlighten me as to what I'm missing, my ears are open.

Snoop Dogg The Royal Guardsmen The Buckinghams

Chu Berry: A Giant of the Tenor Sax (Commodore) I've never been a big Chu Berry fan. Roy Eldridge's playing is what grabs me when I listen to this record.

About a foot of snow here overnight and this morning, but it's supposed to be sunny tomorrow, so all's well.

Is this a new one? I will have to check it out. Relatively new - it was published last fall. Seemed to slip through the cracks. I only learned of it a couple of weeks ago.

August Kleinzahler: The Hotel Oneira

Louis Pasteur Elsie Borden Lizzie Borden

I don't believe that's quite what Jeff wrote. Perhaps I'm misreading his post.

A Albert Ayler: Swing Low Sweet Spiritual (Osmosis)

Michael Hurley: Back Home with Drifting Woods (Mississippi)

The Mighty Hannibal, probably best known for his r&b hit, "Hymn No. 5", passed away on January 30, 2014. http://www.youtube.com/watch?v=1NKFT9vLfD4 I bought a copy of "Hymn No. 5" back in 1966 and it had a great effect on me back ten. Still does.

Welcome back, John. And I don't think you're a newbie. Perhaps a moderator can correct that.