paul secor

No argument. I agree with what you're saying. Just wanted to post my love for Mr. David Ruffin. Just reread - guess you were responding to Lon and not to me. Anyway, If anyone's interested - check out the single he did with his brother Jimmy - "When My Love Hand Comes Tumbling Down". I don't have (or want) the Motown singles box, but I still have the 45 somewhere.

Don't want to get into a Motown argument - I'll take further soul soul any day - BUT David Ruffin at his best can stand with anyone on my turntable or CD player.

Thanks to everyone who posted pics and recommendations. All of you in the Chicago are who have the opportunity to hear him play live regularly are truly lucky. My favorite Fred Anderson recordings are Duets 2001 with Robert Barry (Thrill Jockey), Vintage Duets and Destiny (Okka) and The Missing Link (Nessa). There's a lot I haven't heard, so it's been good to read about other recordings. Fred Anderson is one of the cats still doing it. He's a national treaure and we should try to support him while he is doing it.

Cecil Taylor: Spring of Two Blue-J's (Unit Core) Then some reggae I hadn't listened to in years: Ethiopian & Gladiators: Dread Prophecy (Nighthawk) The Gladiators: Symbol of Reality (Nighthawk) They may have been a couple of blues fans, but Bob Schoenfeld and Leroy Pierson sure produced some fine reggae sides.

Thanks for posting both cover and notes. I can see why Mosaic skipped reprinting the liner notes, but the cover was worth reprinting. No mention of a producer in the Select booklet. Bones Howe is credited as the engineer, but that's it.

One more. It's not over til it's over - HAPPY BIRTHDAY! Didn't make it to the Board yesterday, but I hope it was a great day for you.

I was just listening to 'Jazz Impressions of Folk Music' on the Carmel Jones Mosaic Select. The cover and liner notes for this album are not reproduced in the Select booklet. From my experience with Imperial r&b and blues LPs, the covers tended to be pretty dire, so perhaps that's why there is no cover reproduction. Were there any liner notes on the original LP issue?

Paul is this available on CD? Sorry - I missed your post or I would have responded earlier. It was issued on a Xanadu LP and then reissued on a Xanadu/EPM CD - Bud Powell: Shaw Nuff - FDC 5167.

Penelope Lively: Spiderweb

That's a good read. I enjoyed it. Currently reading: The Journalist by Harry Mathews So Clem is responsible for the sale of at least two copies of 'Mr. Dynamite'.

Didn't like this one nearly as much as Readings -- the Book World review pieces are just too short. --eric I agree to an extent. The 'Readings' essays are generally longer and a bit more personal, but I'm finding a wealth of books that interest me in the 'Bound to Please' reviews. Now I just have to find the time to read them.

I'd like to add another welcome to the Board. I agree with brownie - Jazz Portraits is a very fine recording that's usually overlooked. A couple of others not in that class, but fine and overlooked: Mingus Plays Piano (Impulse) - more pure music on this than on many pianists' records. The Charles Mingus Group - Debut Rarities Vol. 3 (OJC) - also available on the Mingus Debut box. I just picked this up and have only listened to it once, so I can't tell how well it will hold up, but it grabbed me on first listen and it was certainly overlooked by me until now.

Nonaah, Brilliant Corners, Dance of the Infidels, KoKo - I feel like a dullard in the midst of intellectuals: Ray Sharpe's "Linda Lu".

Skip Spence, mono Dylan, and Buck Owens would be plenty reasons enough to be grateful for this label. Not to mention: Stax sides - Booker T & Co., Otis, & Rufus Thomas, the Holy Modal Rounders, the Incredible String Band, the first 2 Sir Doug Quintet LPs, mono Spoonful

I've wondered if a copy ever made it onto a bar jukebox. I can imagine the reactions that 'Ascension' would have gotten if someone had put in their dime and played it.

Otis Rush! I would haved loved to have heard that. I was guessing what blues musician it might have been. Even though he's a favorite of mine, Otis Rush never came to mind.

Some rare items - perhaps not especially valuable - but rare: A 78 copy of Levi Seabury: "Boogie Beat"/"Motherless Child" on B.B. King's Blues Boy Kingdom label. An Impulse 45 - edited version of Trane's 'Ascension'. An ESP 45 - Ornette's "Sadness" on one side - an Ayler recording, I believe "Angels", on the reverse. It's boxed up right now. A video copy of Julia Goldrosen's short animated film, 'Cats Go Scat'. A copy of an 1970's Flyright LP, Those Old Happy Days - 1960's Blues from the Gulf. When I met Flyright owner Bruce Bastin in the late 80's, he told me that he was surprised to see a copy, as only 100 had been pressed. The metal mastering plates for the Swingtime release of Baby Boy Warren's: "I Got Lucky"/"Let's Renew Our Love". Nothing in the Hershall/Mary Lou class.

Cecil Taylor - early 1966, with Jimmy Lyons, Henry Grimes and Andrew Cyrille. I felt things that I haven't felt before or since.

I saw the Copasetics, featuring Honi Coles - a great, great, great dancer - in the late 70's, and it was one of the musical experiences of my life. I also saw "No Taps" on PBS years ago, but can't remember much about it. If anyone goes for the video, please speak to us.

Sorry that I haven't added much to the thread that I began. This seems to have become a forum for comments on Dave Sanborn, which wasn't my intention, but things will go where they will. I thought that it was interesting that Roscoe Mitchell took one path (and has remained on it), while Dave Sanborn took another, quite different, path. Also, I thought that it was interesting that Philip Wilson returned to the music that he had played with the AACM, after he left the Butterfield Band. I did listen to some of Sanborn's playing on the CD Jim mentioned, and heard what Jim wrote about. He certainly has facility (I prefer that term to technique) and control over what he plays. That said, his music doesn't hold much interest for me - I'd much rather listen to Otis or Charlie Rich sing "Try a Little Tenderness" than hear him play it. For me, he comes off as a kind of modern day Earl Bostic. What I mean by that is that Earl Bostic was a musician who was respected by many fellow musicians, especially saxophonists, for his facility and control over his horn. I've never been able to connect with his records, try as I may, because when I listen to music I don't listen primarily for those aspects of it. For me, facility and control are just parts of the technique of bringing the emotions and ideas of sound to an audience. I'm giving Dave Sanborn more credit than he deserves - if I had to choose - and I don't - I'd rather listen to Earl Bostic than listen to him. That said again, if there are those who dig him (or Earl Bostic) - have a ball. There's enough music around for everyone to enjoy whatever they choose. Just a couple of unanswered questions from my initial post, if anyone knows: Whatever happened to Gene Dinwiddie? And who was the blues singer Philip Wilson played with in Chicago?

Bob Dylan: John Wesley Harding (Sundazed mono) The music on this comes through to me as strongly as it did 37(!) years ago, when I bought my first (stereo) copy. I never saw a mono copy back then.

I guess you've got ears and a sensibility like Bird had. Supposedly, he could find some musical good in everything he heard. I Wish that were the case with me.

Looks like a good list. You listed several Rene Thomas recordings that I want to pick up.

I was just reading John Litweiler's liner notes to the Art Ensemble's 'The Spiritual' album, and he makes mention of the Philip Wilson's leaving the Roscoe Mitchell Art Ensemble to join the Paul Butterfield Band. He also mentions Gene Dinwiddie (whatever became of him?) and "a self-confessedly Mitchell-inspired altoist, the very fluent Davey Sanborn." I have no reason to doubt Mr. Litweiler's words, but Dave Sanborn surely took his inspiration in another direction. (I wonder if he shared a little of the green with the man who inspired him? B-)) Mr Litweiler also mentions that Philip Wilson joined the Butterfield Band after losing his gig with "a well-known Chicago blues singer". Anyone know who that was?

Stan Getz/Charlie Byrd: Jazz Samba (Speakers Corner) Art Ensemble of Chicago: The Spiritual (Freedom-Japan)