paul secor

I wonder who produced/contracted those RCA sides. The sidemen are more than a little "high class" on a consistent basis. This isn't the usual case of the odd jazz player or two showing up on an R&B date. This is definitely an arranger/contractor/producer/somebody calling in top-shelf players to cover what for all intents and purposes are "normal" R&B charts. There's definitely a difference in feel and execution as a result. Subtle, but real. Not necessarily "better", but definitely...different, and not at all in a bad way. I have the Greer Bear Family set (tho I haven't listened to it in a while). The booklet with that lists the producers on his RCA sessions as Stephen H. Sholes (with Charles R. Grean for two sessions) from 1949 thru April 10, 1952; then Joe Thomas - a tenor saxophonist and vocal coach, but not the Joe Thomas who played in Jimmy Lunceford's band, later recorded in an r&b style for King Records, and, years later, made a recording for Uptown Records - Danny Kessler, Ed Kissack, and Bob Rolontz. It's possible that the presence of some of the sidemen was due to the influence of Lucky Millinder, who is listed as the band leader on several early John Greer RCA sessions. Greer played in Millinder's band. Greer himself, pianist Howard Biggs, who was musical director for The Ravens, and Leroy Kirkland are listed as leaders on later Greer RCA dates. As Jim noted, many well known jazz musicians - among them Rudy Powell, Mundell Lowe, Al Casey, Tony Scott, Tate Houston, Art Blakey, Seldon Powell, Aaron Bell, "Skeeter Best, Earl May, Idrees Sulieman, Eddie Barefield, Buddy Tate, Taft Jordan, Jimmie Crawford, Budd Johnson, Jerome Richardson, Billy Taylor (pianist), Connie Kay, and Tyree Glenn - played on John Greer's recording dates, though that wasn't all that unusual in the early days of r&b. Hope this helps a bit.

The ending to his obit in The N.Y. Times today: When Mr. Makem arrived at Logan International Airport in Boston in 1955, he carried a makeshift suitcase, a pair of bagpipes and an X-ray of his lungs to prove he did not have tuberculosis, he said in an interview with The Asscoiated Press last year. The customs agent told him, "Have a good life." More than half a century later, Mr. Makem declared, "I took him at his word."

I never knew that Aretha recorded in Memphis. ????

Sly and the Family Stone: Anthology Good listening, but I have to say that I never bought into the whole thing about Sly being a seer/prophet/explainer of his time, etc. The man wrote some good songs for a few years, and arranged and presented them on record in a unique way. I give him full credit for that, but I just can't buy into a lot of what's been written about him. As far as I know, Greil Marcus started all of that. I never bought into Greil Marcus either. To my mind, there's no such thing as a hip academic.

Have to say that the only Moby Grape connected record I have any interest in hearing these days is Skip (Alexander) Spence's Oar - also reissued by Sundazed. Still have my old Columbia LP from 1969.

Have the LPs. Gambit can keep their CD.

Professor Longhair: Live on the Queen Mary

Erskine Hawkins Orchestra recordings from 1938/39

If you're out there - Happy Birthday! You are missed.

This won't help Dan any, but I came to later Trane from earlier Trane, Mingus, Ornette, Cecil, Ayler, and music that came before them. Trane's late music seemed to flow out of and fit into all of that. It never seemed problematic in any way. A suggestion for anyone having trouble with later Coltrane: set aside what you usually listen to and try listening to early Louis, Johnny Dodds, Sidney Bechet; some blues singers - Son House (early or late), Willie Johnson, Garfield Akers, Bukka White, King Solomon Hill; some gospel quartets - Spirit of Memphis, Swanee Quintet, Swan Silvertones, 5 Blind Boys (Mississippi & Alabama); & religious singers/guitarists - Rev. Robert Wilkins, Blind Willie Johnson, Blind Mamie and A.C. Forehand. This isn't a list just made up to drop names. I think that spending some time listening to and living with some of this music could put a person in a place where listening to Coltrane's later music might seem like a natural thing to do. (And if it doesn't help bring you to Trane's music, at least you'll have heard some great music that stands on its own.)

No doubt in my mind that whoever gets this job will be a businessman/schmoozer first and a music lover last.

I'm a baseball fan, but the day that Barry Bonds hits #756 will just be another day for me.

Traveling Wilburys Volume One

Happy Birthday!

The Elvis Presley Sun Collection - 1979 issue from Germany. I think I remember reading that this was mastered by Bob Jones, but no credit is given on the jacket. Whoever mastered it did a great job of presenting some classic music that Elvis, Scotty Moore, Bill Black, and Sam Phillips originally created.

Don Byas/Bud Powell: A Tribute to Cannonball

Sam Cooke Live at the Harlem Square Club, 1963

You picked up priceless music for a great price!

I still remember vividly the day I heard about John Coltrane's death. I was driving with a good friend whose wife had just given birth to their first child when I heard the news of Trane's death on the radio - probably the strongest mixed emotions I've ever had.

I always liked the U.S. version of Rubber Soul better than the British version.

Put the New Art Jazz Ensemble's Seeking LP on the box this afternoon. First listen in about 20 years - fine, fine music. I have to start listening to old records more often.

Happy Birthday! Hope you enjoy the Chu if you decide to pull that trigger.

Best wishes on your birthday!

Hope it's a great birthday, Tom!

You missed a lot of good music when it was happening. Hope you picked up on it later.