paul secor

This afternoon: Ramblin' Hi Harris, Mr. Calhoun, Clarence Garlow, et.al.: Rooster Crowed for Day - The Legendary Jay Miller Sessions Volume 3 (Flyright) - The recordings from Jay Miller's archives that Bruce Bastin released on Flyright seem to have been forgotten even by blues fans, but there was/is some dynamite music to be found there.

I don't remember the Serrano as a Cannonball job, but I don't have it any more. I also don't have the Roosevelt Wardell any more - but I DO remember that as a Cannonball job. Am I going nuts in my old age? Oh, and what about the Joe Alexander? MG One more to add: Eddie "Cleanhead" Vinson: Cleanhead and Cannonball - Riverside 3502

Not quite. Air Time on Nessa is in print, and is certainly one of their best. Imo it is their best.

Son House: Father of Folk Blues

J.J. Johnson: Columbia Small Groups - disc 4 - Love the way that Wilbur Little and Albert Heath lock in on Sonny Rollins' tune "Decision".

I have an issue of Doodlin' on Overseas Records (Japan). The label on that reads: Licence/Carson Records, France.

Lucky Thompson: Featuring Oscar Pettiford - Thompson, OP, & Skeeter Best - guitar instead of drums, but a trio nonetheless, and a great date Marion Brown: Porto Novo Steve Lacy: Capers Archie Shepp; The Tradition Sonny Rollins Trio: In Stockholm 1959 The Byron Allen Trio Art Ensemble of Chicago: Tribute to Lester - Roscoe Mitchell, Malachi Favors, & Don Moye Anthony Ortega: New Dance! - 4 trio tracks Paul Plummer - Ron Enyard: Trio & Quartet - the tracks from Acoustic Jazz Trio John Coltrane: Lush Life - "Like Someone in Love", "I love You", and "Trane's Slo Blues" Jimmy Lyons: The Box Set - several tracks w. Hayes Burnett & Henry Letcher recorded at Studio Rivbea Sonny Rollins - various tracks from Sonny Rollins and the Big Brass, Now's the Time, The Standard Sonny Rollins, and The Alternative Rollins Some more trumpet/bass/drums sides: Miles Davis: Ascenseur pour l'echafaud - the trio cuts The Phillip Wilson Project - several cuts w. Lester Bowie, William Parker, & Phillip Wilson - "Cool" is especially fine.

Good one!

Some sax-bass-drums trios: Claude Lawrence: Lost Art/Hidden Treasures - most highly recommended Charles Gayle/William Parker/Rashied Ali: Touchin' on Trane Julius Hemphill Trio: Live from the New Music Cafe Sonny Simmons Trio: Live - In Paris - I like Ancient Ritual (which Dmitry recommended) better, but this is also a good one. Warne Marsh: Warne Out Branford Marsalis: Trio Jeepy - I'm not a Branford fan, but this one's worth it just for Milt Hinton. And a recommended trumpet/bass/drums trio: Roy Campbell Pyramid (w. William Parker & Reggie Nicholson): Communion

Michael Kanan & Nat Su: Dreams and Reflections

Robert Pete Williams (Ahura Mazda) - free blues

Sonny Boy Williamson: Down and Out Blues - some sweet guitar by the late Robert Lockwood on "I Don't Know"

I have no idea what Albert Ayler's thoughts/motives were about the change in his recordings. However, I was around then and all the record companies were looking to make some money off the Love/Peace/Longhair/Hippie market. There's no denying that.

John Fahey: Of Rivers and Religion

It's just a small part of his legacy, but I always smile when I listen to Jimmy Heath's Swamp Seed and hear Don Butterfield's tuba playing Monk's left hand figures on Nutty. RIP, Mr. Butterfield.

No matter how "influential" it may have been, Electric Mud sounds like crap to me. Just my opinion.

Love Cry is, to some extent, a record company concept. Impulse must have wanted short performances - tho perhaps Albert Ayler wanted a record like that also. I heard that band in concert (w. Junie Booth replacing Alan Silva) playing some of the Love Cry compositions, and they were played as a continuous medley - not broken up into separate pieces as they are on the record. I have to believe that's what Ayler wanted the music to sound like.

My memory could be faulty, but I remember reading that Another You was an unauthorized issue. IIRC, Sonny had signed with Impulse for 3 albums. The material on Another You remained unissued - probably because of the sound problems & also because it wasn't one of the 3 Impulses that were initially issued - until 1978 when Impulse put it out. Sonny (or Lucille) sued and the record was withdrawn from the market. It's been issued on CD in Japan - don't know about the U.S. - so perhaps a financial settlement was worked out. I'll leave it to someone who was involved in the record biz back then to clear up the details.

I have a number of Bird boots on various labels (Parktec, Elysium, Invincible, Meexa Discox) seemingly from the same source. I never found the packaging of the Parktec disturbing - perhaps slightly more bizarre than the others, but not disturbingly so. Then again, maybe that's just me. I wouldn't peg the guy in the photograph - "Dr. Claude Donkke" - as looking like he's mentally ill, but the inscription on the photo is indeed strange (or perhaps just prescient) - " To Bird - All the Verbal Jazz is yet to come - Claude".

Coleman Hawkins: Sirius

A sad day in musical history

My parents listened to 40's-50's pop music when I was young, and not even to much of that, so they didn't have much of an affect on my listening or tastes. Shortly before my father died, he heard me playing a Lester Young/Teddy Wilson record and told me that when he was in his very early 20's and worked in NYC (1939-1941), he used to go to Harlem to hear the music in the clubs there. It was strange to hear that, since music never seemed to be of any importance to him.

I just listened to a Norris Turney recording yesterday. Walter Booker was the bassist on that date, and as I listened I thought about how solid his bass playing was. It's a very sad thing to read of his passing.

I remember reading years ago that someone (perhaps Phil Ochs) suggested that Woody Guthrie's "This Land Is Your Land" should be the U.S. national anthem. I'm not big on national anthems, but I could get behind that a lot easier than I can the "Star Spangled Banner".

I liked their early work. As time went on, I found that I has less interest in their recordings. However, that was evidently more about me than about them. I recently revisited Dances and Ballads and Metamorphosis - both "middle period" WSQ - and enjoyed them thoroughly, especially the former.