paul secor

Coleman Hawkins All Stars (Prestige-Swingville/OJC). Played this to check out Joe Thomas' later playing after reading the comments on the Tony Fruscella thread. To my ears, he lost some chops over the years, but chops aren't everything. His solos on "Cool Blue" and "Some Stretching" are worth listening to. However, Hawk's the main story on this LP.

Analogue Productions has released a 2LP-45 rpm set. Don't know if it's mastered by Hoffman or Gray, or if it's a team effort. I have a Japanese LP version which sounds OK, but I wonder how good the recording was to begin with. The AP 45 may be the best sounding version out there, but I don't think that I'm going to part with 50 bucks to find out.

Anyone who digs Link Wray should pick up Big Guitars from Texas (Jungle LP, Ryko CD). Someone wrote a review of this and said that playing it was like having a living room full of Link Wrays - not exactly true, but close enough.

Remember Ben Webster (Mercury - Netherlands) - After all these years I'm still amazed that Ben Webster can embellish a melody and take me to places I've never been before. and Big Walter Horton/Alfred "Blues Harmonica King" Harris: Harmonica Blues Kings (Pearl)

I'm afraid "dirty fouls" as you call them goes back further than that. You might remember when special subtitutions were made during a game to send in the "hatchet men." That term gave way to the Enforcers then to the Power Forwards. Those "hatchet" men would come in the game and literally make life very miserable for the opposing athlete that was scoring "too many points" or to just take a foul but to also let the opposing player know what his status was. Do you remember Jim Luscatoff???? Yeah he was with Boston also but way before the 80's. B-) I do go back that far, and I do remember him. Hard fouls and hatchet men have probably existed for a long time, but I've watched NBA basketball over the years and hard fouls, to my memory, became commonplace in the 80's, and are a fact of life in the NBA today. Jim Luscatoff (sp?) was fairly unique in his day. Back then, when the term, hatchetman, was used, he came to mind. Today, that term is useless, because there are so many that it has no real meaning. My point was that players don't want to play defense. It's easier to clobber someone or knock them down if they beat you on a drive to the basket than to try and play good individual or team defense. The NBA condones this, to a great degree, and I think that it's hurt the NBA game and created confrontational situations, of Friday night's melee was the topper. Incidentally, I remember those Celtics teams from the late 50's to mid 60's, and they were great enough that they didn't need Jungle Jim and his type of play. I enjoy watching good basketball. I don't enjoy a lot of the crap that goes on now. The NBA should get rid of "hard fouls" and send that kind of play back to the playgrounds where it exists because there are no referees and not a lot of defense.

I remember Gary Giddins playing up Bireli Lagrene's early stuff as something like Django reborn. I bought one of them, couldn't hear that at all, and have stayed away since.

The next Pacers-Pistons matchup is on Christmas Day? Let us pray for peace! Agreed. But ... Whoever was responsible for security (whether it was the NBA or the Pistons) didn't do their job. In most sports, it's my understanding that it's the home team's responsibility to provide a secure atmosphere for the players and the fans. This didn't happen in Detroit. I hope that I never see anything like that happen again. To my mind, it's the end result of the relatively recent (since the 80's) tradition of "hard fouls" (dirty basketball) which began with the Celtics in the 80's, was perfected by the Bad Boys, and has become a fact of life in the NBA. If David Stern really wants to put an end to all of this, he should have any player who commits a "hard foul" ejected from that game and suspended for another. That kind of play would soon end. Until then, I'm afraid that last night's melee won't be the last.

I once had an old guy ask me if I knew the address for Budweiser. He said he wanted to write them because he found a monster in his beer bottle the night before.

I hadn't heard any Liebman for years, and just thought of him as another Trane clone. Earlier this week, I received a copy of Greg Waits' CD, ....and into the light, on which Dave Liebman plays, and enjoyed some of his playing. From this, it sounds as if he's lost the obvious Trane influence.

My thoughts: Artest should not have lost his cool and charged into the stands, but I can't say that I might not have done the same thing, given the atmosphere on the court. I've seen other players sitting or lying on the scorer's table/media tables many times over the years. I can't remember anyone ever being doused with beer. Where the hell was security? There should have been security posted at courtside once the players' scuffles broke out, especially in the area near the Pacers. Whoever is in charge of security at the Pistons' arena should be fired immediately. Where was security when fans were on the court? I saw a clip of a deputy sheriff preparing to pepper spray a Pacers' player on the court. Why wasn't he removing fans from the court? That's his job. Fans do not belong on the court. He should be out of there, too. Where was security during the skirmishes in the stands? Where was security when the metal chair was tossed up into the stands from courtside? Any fan who went onto the court and was punched got what he deserved - just like the fans who ran onto NFL football fields and were tackled by players. I saw a clip of the sheriff's department checking out television footage in the TV truck. I hope that they try to identify every fan who was involved, not just players, including the fans who threw things on the players as they left the court, although I doubt that will happen. In the end, I place the blame for this on the Piston organization, and on Joe Dumars, since he is in charge. If there had been decent security in place at the arena, this situation probably wouldn't have happened.

A fine description - I agree completely. I remember reading an interview with Cecil Taylor where he said that he was annoyed that Mary Lou brought her rhythm section in at the last minute. He felt that if she wanted to do that, she could have asked Andrew Cyrille, who had played with both her and Cecil, to play at the concert. To be fair, I would imagine that Mary Lou Williams might have had a different view.

Thanks for posting the website.

Coleman Hawkins: Today and Now (Impulse/Jasmine) - Nice Hawk, though I could have done without the engineered fade outs.

Dylan: Blonde on Blonde (Sundazed mono)

Having read the Fred Jung interview, does anyone have knowledge of Marion Brown's current whereabouts, and whether and how anything can be done to help him?

Even though it's not mainstream Marion Brown, I'll make mention of Soundways, a live collaboration with composer/pianist Elliot Schwartz, originally issued by Bowdoin College Music Press, and reissued as part of a double LP with the duo recording with Leo Smith that Chuck Nessa mentioned. I've had the Bowdoin LP for thirty years, have probably listened to it once a decade (just listened to it this morning - the time seemed to be right, with this thread on the Board), and it's held my interest every time. As I say, it's not mainstream Marion Brown - it falls into a class with Don Cherry's collaboration with Jon Appleton, Human Music, another record I only listen to very occasionally, but enjoy whenever I do.

Looks like some good listening. Welcome!

Marion Brown/Elliot Schwartz: Soundways (Bowdoin College Music Press)

I bought two of their albums when they came out and liked them at first, but as "the 60's" wore off/out for me, I got rid of them. It might be interesting to hear how they'd sound now, but I'm not spending any bucks to find out.

From an Arhoolie sale: Cliff Carlisle: Blues Yodeler and Steel Guitar Wizard (Arhoolie) Louis Armstrong Volume 1 - 1926-1935 (Neatwork) Tommy Griffin/One Arm Slim/Frank Edwards: Country Blues Collector's Items - 1930-1941 (Document) Ma Rainey - Volume 4 (Document) $34 for the 4.

Most of my favorite Marion Brown records have already been mentioned, but I'll add: Porto Novo - originally issued on Polydor, reissued in the U.S. by Arista - with Han Bennink and bassist Maarten van Regteben Altena and Reeds 'n Vibes (Improvising Artists) - a duo set with Gunter Hampel that has its moments.

Sad news. I'm sure he suffered through those last months. I hope that he had a peaceful end. Thank you for giving us your music, Mr. Lovelace.

Happy Birthday! Hope that Your Day has been a good one.

Two words: "Cherokee." Point taken. To my ears, at least, Bird created something greater than what he stole from - the chords of "Cherokee" in this case. Bird played his own tune. Perhaps to your ears (or to others' ears) the Beastie Boys have done the same. I would rather listen to James Brown (or James Newton) than to listen to a rap artist sampling their music. But that's just me.

Nice pickups! Some pretty good listening there.