paul secor

The Great Santini Sants Battaglia Burma Jones

Alfredo "Chocolate" Armenteros Sugar Ray Robinson Peppermint Harris

Kenny Dorham and the Jazz Prophets Vol. 1 (ABC Paramount Japan)

Sassy Lady Ella

Saskatchewan - 65

MG BG Gigi

McGruff the Crime Dog Deputy Dog Shaquille O'Neal

I hope that our midwest members (indeed all in the midwest) are safe.

The Wright Brothers Tom Wolfe J. Geils Band

The Big Sleep Doctor Death The Zombies

And Peter Guralnick's Sweet Soul Music covered much of the Stax story (among other things) before Rob Bowman's book.

Harry Edison Swings Buck Clayton (and vice versa) - (Verve Japan)

Ronald Reagan Flash Gordon Ming the Merciless

Doris Duke Joe Castro Bernadette Castro

1958 Miles (CBS Sony Japan)

Both for Cecil receiving the award and, more importantly, that his health was good enough to journey to Japan and receive it.

Cory MacLauchlin: Butterfly in the Typewriter - The Tragic Life of John Kennedy Toole and the Remarkable Story of A Confederacy of Dunces

Grant Green: Solid (BN/King Japan)

Abe Vigoda The Kingfish Holy Mackerel

Mack the Knife Billy Shears Diane Sawyer

Mr. Fixit Jim Fixx John Scott Trotter

Thanks for posting that, uli. A fine tribute.

Some other people have pretty much nailed my feeling about New York Jazz in paticular and Stitt in general. Just a couple of additional comments. I find it frustrating to the point of being undecided if I want to keep the album or not when I hear Sonny Stitt play something inventive and exciting and then, shortly afterwards, fall into one of his series of well played but glib Bird-influenced phrases - all in the same solo. Almost like listening to some who's an entertaining b.s.er and after a while you can't tell what's the truth and what's not. Sometimes listening to Sonny Stitt, I'm reminded of a Gene Quill story. When someone at a club said that he was imitating Charlie Parker, Quill offered him his alto and said. "Here, you imitate Charlie Parker." Quill had a certain point, but the other side of that is that if you have the facility to imitate Charlie Parker, why do it? Reading the liner notes, I'm surprised that Verve left the following by Nat Hentoff in the liner notes: " It is to Sonny's credit to say that at his best, he can play with a ferocity of passion and an into-the eye-of-the hurricane conception that can, as it once did at Basin Street in New York, freeze a table of musicians into a still life of open mouths and re-awakened eyes. There are other times when he yields to the most irritating musical mannerism of his generation, the hard driving running of changes on his horn that underlines quickness of ear and firmness of chops, but is little less edifying to the spirit than RCA's electronic synthesizer. Both sides of Stitt are in evidence on this set." Honesty in liner notes is a rare thing. Finally, I agree with Lon and brownie that it sounds as if someone is tapping their feet during Ray Brown's solo on "Between the Devil and the Deep Blue Sea."

W.C. Fields A.C. Reed J.C. Moses

Joe Albany & Niels-Henning Orsted Pedersen: Two's Company (Steeplechase)