paul secor

Previous order: Mose Allison: Autumn Song Walt Dickerson: This Is Pete Franklin: Guitar Pete's Blues Johnny Griffin Sextet Brew Moore Quintet Hal Singer: Blue Stompin' Swan Silvertones: Heavenly Light Bobby Timmons: Soul Time Lem Winchester: With Feeling Lester Young: Washington, D.C. Vol. 4 I've listened to all except the Pete Franklin. The Johnny Griffin is probably the standout and the Mose and Brew are very pleasant surprises - much better than I expected. On order: Mose Allison: Creek Bank Gene Ammons: Up Tight! Buck Clayton/Buddy Tate: Buck & Buddy Claude Hopkins: Swing Time Percy Mayfield: Memory Pain Charles Mingus: Debut Rarities Vols. 1&2 Zoot Sims: Quartets Elmer Snowden: Harlem Banjo! Mercy Dee Walton: One Room Country Shack It'd be something else if this thread generated enough interest in some of the less popular OJC titles to convince Concord to keep them in print. I doubt it, but who knows?

Boulou and Elios Ferre and a lot of blues guitarists - Earl Hooker and Jody Williams for starters.

Missed your birthday. Hope that it was a good one.

Guess I'm too literal - joke's on me. Anyway, it got some more Joe Maini stuff on the Board.

I was looking through Cadence magazine's sale section and came across a listing for "Jazz Organ Discography compiled by J.J. LaComme". I don't know anything about this book, but I thought that someone else here might, and figured that there would be some organ fanatics (under the new edict - aren't we all? ) who'd be interested.

Mark Whitecage Claude Lawrence

Nat Su

Jimmy Knepper in L.A. (disco mate - Japan) - Probably the record in my collection that best captures the beauty of his tone.

Byron Allen Julius Hemphill Marion Brown Carlos Ward Rob Brown Jemeel Moondoc Ken McIntyre John Tchicai

Hank Mobley Quartet/George Wallington Showcase (Blue Note/King - Japan) The Wallington sides are nice, but the Mobley sides -

Art Pepper: "Smack Up" (Analogue Productions)

Before this thread disappears (along with many of the OJCs), I'd like to put a plug in for a few essential blues sides that should be in every self respecting collection: Guitar Slim: Suffering Mind (Specialty 7007) Clifton Chenier: Zodico Blues and Boogie (Specialty 7039) - ok, not strictly blues, but there's enough there to fit in. Bloodstains on the Wall - Country Blues from Specialty (Specialty 7061) Frankie Lee Sims: Lucy Mae Blues (Specialty 7022) - Texas blues at its finest. And for anyone who's into '60s folk wierdness: The Holy Modal Rounders 1&2 (Fantasy 24711) I'm about to place an OJC order, and I'd appreciate it if anyone can recommend (or not) any of the following: Dick Wellstood/Cliff Jackson: Uptown and Lowdown (Prestige 24262) Junior Cook/Blue Mitchell: Junior's Cookin' (OJC 1002) The Walter Bishop, Jr. Trio (OJC 1896) Cal Tjader: Latin Kick (OJC 642) - I'm interested mainly in Brew Moore's playing. Barry Harris Trio: Chasin' the Bird (OJC 872) The George Wallington Trios (OJC 1754) I've checked out most of these in the Penguin Guide, but I trust you guys a lot more than I trust those guys. Thanks in advance for any feedback.

I had very much the same experience you describe when I first heard Bud Powell. I had heard so many of his followers and imitators before I heard him that it took some hard and long listening before I could hear what he was playing.

Allen - Could have done this through a pm, but I'm sure that there are others who might be interested: Which of your books would you suggest that a reader who hasn't read either read first?

Allen - so you are Endgame. I had always assumed that Jeff Fuller, who plays on both of the Endgame releases that I have, was behind those recordings. Interesting. So much for my Holmesian powers of deduction. I can recommend both the Schildkraut and the Percy France Endgame CDs. You won't find audiophile sound on either, but you will find master musicianship on both. Are there any other Endgame recordings available or in the works?

It seems to me that Martin Williams' comments about blues musicians might apply to musicians in many genres of music, especially the part about "then wrought into a shape they found pleasing." (I realize that that's your rendering of what Martin Williams wrote.) I think that Williams' comments had some validity (I'm assuming this was in the 60's), in that blues musicians were looked upon by most critics and listeners then as pure "folk" artists. There were few reissues in the 60's - the flood came in the 70's and 80's - and I think that Williams' comment was, in many cases, a true one. It's since become common knowledge that blues lyrics, tunes, and instrumental techniques were passed along through phonograph records, as well as through personal contact. That doesn't take anything away from the blues musicians who picked up things from records. They still had to make the music their own. I could be wrong about this - I'm relying on memory - but I seem to remember that Williams didn't seem to have a high opinion of early blues musicians in general. Something about blues musicians taking songs or lyrics from records by Bessie Smith and other classic women blues singers and not being able to play them well sticks in my mind. Perhaps that's what you were referring to, Larry. If my memory is correct, that seems to be a blind spot, and quite a large one, at that. Perhaps you or someone else who has ready access to Martin Williams' writings can check this out. If my memory has failed me, I apologize to Mr. Williams. I do wonder if the fact that Martin Williams didn't write much about non-jazz blues musicians relates to the fact that people tend to listen to the blues emotionally first, and perhaps intellectually afterwards. Perhaps he found that there was little in that music to engage his intellect. I think that he was wrong, but perhaps that was the case.

Ordered the Django box for myself this Christmas. I've only had time to listen to the first CD so far, but the sound is great and the music is beyond that. A lot of people are called originals, but Django truly deserved that appellation.

Sonny Rollins: A Night at the Village Vanguard (Blue Note/King - Japan)

There seems to be a lot of interesting, intelligent commentary about Dan Morgenstern's new book. It looks like I might find some good reading in it, but I have a long standing aversion to Mr. Morgenstern, dating to his days as the editor of down beat, when he seemed to turn that magazine into a bastion of controversy - post boppers/hard boppers vs. the "new thing" (an unfortunate phrase). It was all just music, but Mr. Morgenstern seemed to want to fan the flames of controversy more than anything else. (Perhaps that was the order of the publisher - controversy = sales - but if so, Mr. Morgenstern certainly followed that order.) He seemed to want to portray himself as a man of moderation, but he made use of his buddy Ira Gitler as a kind of resident pit bull - at least that was my impression at the time. As I say, there may be things that I might learn from reading his book, but I'm not sure that I can bring myself to read it. His down beat tenure left me with that bitter a taste.

Hope that you're having a GREAT one! Happy Birthday!

Paul Gonsalves: Gettin' Together (OJC) I don't know who had the idea of recording Paul Gonsalves with a quartet of post-boppers - Mr. Gonsalves himself or Orin Keepnews - but it worked beautifully.

How could I have forgotten Robert Earl Keen's "Merry Christmas from the Family" on his Gringo Honeymoon CD? If you haven't heard it, get it and it will become a Christmas staple.

I wouldn't shit you, Chuck.

Warne Marsh: All Music on Nessa Records was voted the #1 reissue in the 2004 Cadence Readers' Poll (January 2005 issue). Congratulations, Chuck! Hope this will help more copies.

I'm not usually into popularity contests, but Cecil was 2 for 2. .1000 ain't too shabby.