paul secor

Best wishes for a speedy recovery to Mr. Redman.

Thanks for the info, Tony. I have it on vinyl, so I don't need the Toshiba. I just thought it should be available in the U.S. It's some of my favorite Zoot.

Johnny Fuller: Fuller's Blues (Bluesmaker)

Agreed. Bassists (and audiences, if they have the opportunity) should tell the rest of the band to turn it the hell down. Over the years, I've heard too many acoustic bands (even ones I dig) playing way too loud. I hate that, and not just because it makes it difficult to hear the bassist.

Zoot Sims in Paris (UA) And another vote for Art Hodes

The Mississippi Sheiks: Stop and Listen (Mamlish)

Glad to see that Ma Rainey is being honored.

Blind Connie Williams: Philadelphia Street Singer (Testament)

Dewey Redman: The Struggle Continues (ECM)

Wynton's sure stirred up a lot of words from all of us.

Happy Bird Day!

Happy 48th! Hope it's been a great one.

Charlie Parker: Vol. 1 - Ballads and Birdland (Zu-Zazz)

I guess I don't care much about "People with money". I think that Chris has made very cogent points in his post. I would only add that if the audiences at JLC want "safe stuff", it becomes destructive for musicians to play that sort of thing and audiences to hear that sort of thing. Playing safe may create some gigs in the short run, but it will destroy the music, the musicians, and the audience in the long run.

Introducing Carl Perkins (Dootone/Boplicity)

What has he accomplished, other than raising money and creating a great gig for himself? Has there ever been any music from Jazz at Lincoln Center that has made a difference? I'm not asking about someone possibly playing one concert there. I'm asking about music created - composed, improvised - by the core of people involved there. I'm also asking about music, not p.r.

When I saw the title of this thread, I thought that it might be about a blues/gospel singer, Blind Connie Williams, who accompanied himself on guitar and accordian - recorded for Testament, later reissued by Hightone. Obviously a totally different person - though Blind Connie Williams is worth checking out.

Just different tastes, but I've always liked Between the Buttons - seemed like The Stones making a pop/rock & roll record, as opposed to their r&b/rock & roll stuff up to that point. I hear Procul Harum, The Kinks, The Yardbirds, Dylan, Ian Whitcomb (!), even The New Vaudeville Band (!) - all that stuff was in the air in 1966 - influences on Buttons, and it still comes out as The Rolling Stones. (Not sure if "Winchester Cathedral" was pre or post Between the Buttons - if it was pre, that's another case of bad music influencing good music.)

Roscoe Mitchell and the Sound Ensemble: Snurdy McGurdy and Her Dancin' Shoes (Nessa)

True - I just gave a musician friend an Earl Bostic compilation. He wanted it to learn some tunes that he might need to know when he plays in an r&b/pop setting. I have a lot of compilations in my collection - not always called "best ofs", but generally they are that. Most of them are r&b or rock & roll, and they tend to be of artists that I don't want to have "everything" by. Just pulled a few: Sonny Thompson, Ivory Joe Hunter, Gary "U.S." Bonds, James & Bobby Purify, The Prisonaires, Freddy Scott, Flying Burrito Brothers I also tend to buy blues comps, especially on Yazoo - Blind Blake, Scrapper Blackwell, among others. In all of these cases, and others, I feel that what's on the comps is enough for me. I realize that someone else is making the choices of what's on them, but I'll live with that.

Agreed and understood. Sonny and Cecil are two different cats on two different paths with different ways of dealing. I was just responding to your statement that playing all out all of the time "went out of style a long time ago", and your comment that the "physical implications" of playing that way destroyed Trane. Cecil has played in a style that you say "went out of fashion" for years and is still around doing it at 73. I doubt that Cecil (or any other musician worthy of the name, but especially Cecil) has ever cared a whit about being in fashion. The physicality and constant searching in Trane's playing may have contributed to his early demise, but we'll never know that for sure, and certainly other factors were involved. I guess we can go round on this, but I understand what you're saying, and I hope that you understand what I'm saying. I definitely agree with your statement "... although most of us claim to want the "truth", can we really, REALLY handle it on a constant sustained basis?" The fact that I don't listen to late Trane or anytime Cecil regularly is my answer to that question. That doesn't deny the truth that they were (and in Cecil's case he still is) able to handle that kind of truth and play it without fear. That's one path to take in music. Fortunately for all of us, the world of music provides a lifetime of other paths.

Rod Roddy was lookin quite the Liberace sort in those days. Do you remember when Rod Roddy was a "hip" DJ on KLIF (The Mighty 1190, The Flagship Of The McLendon Broadcasting System), back in the late 60s? I can remember Rod Roddy on WKBW in Buffalo in the early 60's.

Same here. If Ted Kendall does for Fats' recordings what he did for Django's, I can free up some shelf space.

Three years late resonding to this - and you wrote much more than this excerpt, but I'd just like to respond to this portion. My response to your final two sentences is Cecil Taylor. IMO he has done exactly "that kind of shit" for many years, and it hasn't gone out of style for him - at least not that I've noticed. I realize that there are different physical implications in playing piano as opposed to tenor sax, but there are indeed physical implications and they haven't changed Cecil over the years.

Ben Webster: Atmosphere for Lovers and Thieves (Black Lion)