paul secor

Blackbeard Jean Lafitte Calico Jack

Howard Tate and writer/producer Jerry Ragavoy were both from Philadelphia - Tate was born in Ga., but was raised in Philly. Maybe they were from South Philly? But hey, labels of any kind - Southern Soul or whatever - don't mean a lot. It's the music that counts. Great record and great call, Cap.

Robert De Niro, Sr. Josef Albers Franz Kline

Seemed slow when I logged on this afternoon, but it seems to have picked up. Or else I've slowed down my expectations.

And YOU'VE been racking your brains about the Quotations Where's the weather thread? That's all I'm good for. MG That one's beyond me today.

They were on Verve-Forecast (as was John Lee Hooker), which was intended as a Folk music label (and probably wasn't managed by Creed Taylor), though the "folk" credentials of a good a good few of those artists don't seem nearly as convincing now as they probably did then. The Mothers were on Verve. I've remembered that my cousin had a 45 of a recording of "Imagination" on UK Verve, by some group whose name I don't think I even tried to remember, which was in imitation of the Marcels (does anyone remember the Marcels' "Blue moon"?) and was 1961 or 1962. Now THAT was in the Creed Taylor days. I can't understand why it came out on Verve when MGM had a perfectly serviceable, though bland, R&B label, Cub, at the time; but there we are. MG The Quotations were a white vocal group - I'd forgotten all about them and that record until you mentioned it - so perhaps that's why they weren't on the r&b Cub label. Could be - but I did have the feeling that the Impalas were white, too. MG The Impalas were a racially mixed group, so I guess that qualified them for Cub. Isn't America wonderful?

Chaunc - Al Green never was one of my favs, even back in the day - tho for some reason I have quite a few of his records - wonder why that is? I actually have no interest in his latest, but just wanted to bring up the concepts of socio-anthro-historical points of view and perhaps have them discussed. You perhaps have begun that, but there's surely more to be said. All of that is more complex than I can deal with, either in thought or in writing, so perhaps others will take up the torch.

They were on Verve-Forecast (as was John Lee Hooker), which was intended as a Folk music label (and probably wasn't managed by Creed Taylor), though the "folk" credentials of a good a good few of those artists don't seem nearly as convincing now as they probably did then. The Mothers were on Verve. I've remembered that my cousin had a 45 of a recording of "Imagination" on UK Verve, by some group whose name I don't think I even tried to remember, which was in imitation of the Marcels (does anyone remember the Marcels' "Blue moon"?) and was 1961 or 1962. Now THAT was in the Creed Taylor days. I can't understand why it came out on Verve when MGM had a perfectly serviceable, though bland, R&B label, Cub, at the time; but there we are. MG The Quotations were a white vocal group - I'd forgotten all about them and that record until you mentioned it - so perhaps that's why they weren't on the r&b Cub label.

Think Rooster's opened up the gates with his expansion of limitations.

My question is why exactly does it even matter? I listen to music because I enjoy it, I could care less about it's "street cred". I can't see someone of Al's age meaning a thing to anyone young enough to have "street cred" themselves. I don't tend to break down music along racial lines though, it's not something that's important to me. But that's of course my opinion. The question pertains to the social context of the music. Some of us find that interesting. Right with you there, John! MG The "street cred" thing opens up a real can of worms. Who defines it? Are we talking about older or younger people? What age people buy or download music? How can Chauncey, MG, or anyone else be sure of all this? Does popularity have a correlation with quality? In the 60's and 70's, I used to buy blues and soul 45s from mom & pop record stores in a couple of black communities. It was interesting to see what I bought, as opposed to what people from those communities bought. There was overlap. But in the end, I bought what I liked, not what someone else liked. edit - I do realize that what I bought there was determined by what the black community wanted to hear. I also realize that none of this shit is simple. I used to know a guy who had a theory that whatever sold best - interestingly, he only applied his theory to music made and bought by black folks - was the best. I wrote him off as a theorist - if not as an acquaintance/friend - shortly after he told me that. Another question - do sociologists have musical tastes worth paying attention to?

I was talking more about emotional intensity rather than style. Listening, I just didn't hear KB trying to raise his playing to the intensity of Hawk's playing. I don't want to get into a debate on this one. I think that people have more or less mapped out their positions by now. I find myself somewhere between Chuck's camp and yours. I realize that there are other points of view, but I'm just using you two as points of reference for myself. The fact that Kenny Burrell seems to be most interested in making his playing sound "right" much of the time, is something that creates a distance in my experiencing of his playing.

Kenny Burrell with Coleman Hawkins: Bluesey (sic) Burrell (Alto)

I'm not in Chauncey's camp - I like some of Burrell's playing. But - I was listening to Bluesy Burrell - the reissue LP I have spells it Bluesey Burrell - and enjoying some of Kenny Burrell's mellow, laid back - dare I say pretty - playing. Then, every time Coleman Hawkins stepped up to the mic, I was reminded that there was something outside/beyond what I'd been hearing. And hey, I know that there's only one Hawk, and that only a few have played at that level, but I had the sense that Kenny Burrell wasn't even trying to take it to the place where Hawk was at. Just an observation. If nothing else, this thread will make me - and probably others - listen to some of Kenny Burrell's recordings more closely. And that's not a bad thing.

Sam Jones Eddie Johnson Sextet of Orchestra USA

Happy ! and Happy !

Haruki Murakami's After Dark

Bill Heid: Da Girl - B3, tenor, trumpet, drums, with congas and percussion added on a couple of tracks

zan - hope you'll stick around and add to the discussions.

Clayton Moore Guy Williams Van Williams

Catherine Deneuve Jane Fonda Marie-Christine Barrault

Daddy Warbucks Bobby Battle The Clash

I have two Nonesuch recordings of Balinese music - gamelan music included on both - Music from the Morning of the World and Bali. Neither is commercialized to fit into a "world music" - I hate that term - bag, and I enjoy listening to both. There's a lot of gamelan music on each of these, but neither one is all gamelan.

I never smoked, but observed something interesting at my former workplace. There were 4 or 5 male co-workers (out of approx. 30 employees) who quit smoking cold turkey - I think that there was only one male who remained a smoker there - while there were 6 or 7 women who smoked, several of whom tried to quit and weren't able to. Has anyone else noticed this pattern? Most posters on this Board are male.

Mercer Ellington Andy Kirk Jr. Miles Evans

Moose Skowron Mike Mussina Moose Malloy