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And Greg Rockingham has what must be the definitive resume for an organ drummer: Drummer Greg Rockingham began playing when he was just three years old and debuted as a professional musician at age five in his father's jazz ensemble. An alumnus of the famed Interlochen Arts Academy and Northeastern University, Greg has performed or recorded with a wide range of famous names, including the orchestras of Glenn Miller and Guy Lombardo, vocalists Freddie Cole, Patty Page and Jerry Vale and instrumentalists Nat Adderley, Kenny Burrell, Charles Earland and Ellis Marsalis. http://deepblueorgantrio.com/bio2.html Just kidding - cat's obviously a pro and ain't afraid to go after some bucks. Hell yeah.

Say what? I think he's referring to Charlie Brown as Peppermint Patty does.

Mike, I think Steig would fit in real nice-look what else rock and left field they have in their catalogue,Holy Model Rounders, Pearls Before Swine, Fahey, Patty Waters, they are seriously nuts and they probably are the only current label where I would like to obtain everything they put out!-So by all means Steig-and, my vote, both Kenny Cox! Many years ago I had a Reprise album Jeremy Steig and the Satyrs. And still have a flyer from the Avalon ballroom where they headline over the Sons of Champlin and the Fourth Way... cant stand the recent CTI Steig reissue though.

I don't remember that, but I remember seeing them on The Patty Duke Show

Here's one bit of information from the web: about Gary Hobish Mastering Engineer Gary brings over 25 years experience as a professional recording engineer/ producer to A. Hammer Mastering. He has been a Mastering Specialist since 1982, with hundreds of albums to his credit covering all genres of recordings- from classic jazz to classic rock, alt-rock, rap and hard rock to folk, classical, spoken word and even sound effects. (Click here or here for a short list of Gary's credits.) In addition to his service in audio, Gary is a longtime respected musician, and brings this aesthetic to bear when you bring your project to A. Hammer for mastering. He knows how hard you have worked to bring your music to a place where you want to share it with the world, and has the combination of mastering experience and musical savvy to help your project find it’s most expressive voice at a price you can afford. Some credits: 1942 Bunk Johnson and His Superior Jazz Band Bunk Johnson Remastering, Digital Remastering 1949 Firehouse Five Plus Two Story Firehouse Five Plus Two Remastering, Digital Remastering 1952 Dave Brubeck/Paul Desmond [1952] Dave Brubeck with Paul Desmond Tape Restoration 1952 Piano East - Piano West Freddie Redd Remastering 1954 Billy Taylor Trio with Candido Billy Taylor Trio Remastering, Digital Remastering 1954 Jimmy Raney: A Jimmy Raney Remastering 1955 All Night Session! Hampton Hawes Quartet, Vol. 2 Hampton Hawes Quartet Remastering 1955 Hope Meets Foster Elmo Hope Quartet/Quintet Remastering 1956 All Night Session!, Vol. 1 Hampton Hawes Remastering 1956 All Night Session!, Vol. 3 Hampton Hawes Quartet Remastering 1956 Jackie's Pal Jackie McLean Digital Remastering 1956 Jazz for the Carriage Trade George Wallington Quintet Digital Remastering 1956 Kenny Drew Trio Kenny Drew Trio Digital Remastering 1956 Lester Young in Washington, D.C., 1956, Vol. 1 Lester Young Digital Remastering 1956 Moondog [Prestige] Moondog Digital Remastering 1956 Music for Lighthousekeeping Howard Rumsey & the Lighthouse All-Stars Remastering 1956 Nice Day with Buddy Collette Buddy Collette Digital Remastering 1956 Zoot! Zoot Sims Quintet Digital Remastering 1957 Earthy Various Artists Digital Mastering, Digital Remastering 1957 Flute Souffle Herbie Mann Digital Remastering 1957 Tonight at Noon Charles Mingus Remastering 1958 10 to 4 at the Five-Spot Pepper Adams Digital Remastering 1958 Big Sound Gene Ammons Remastering 1958 Luckey Roberts and Willie The Lion Smith: Harlem Pian Luckey Roberts w/ Willie Smith Digital Remastering 1958 Other Side of Benny Golson Benny Golson Remastering 1960 Centaur and the Phoenix Yusef Lateef Remastering, Digital Remastering 1960 South Side Soul John Wright Remastering 1960 Teddy's Ready Teddy Edwards Quartet Remastering 1962 Solar Red Garland Quartet Digital Remastering 1963 Soulmates Ben Webster & Joe Zawinul Digital Remastering 1967 Strings! Pat Martino Remastering, Digital Remastering 1968 Eddie Gale's Ghetto Music Eddie Gale Mastering 1968 Tomorrow Never Knows Steve Marcus Remastering 1969 Black Rhythm Happening Eddie Gale Mastering 1969 Sweet Southern Soul Lou Johnson Remastering 1971 Afro-Eurasian Eclipse Duke Ellington Remastering 1971 Circles William S. Fischer Remastering 1971 Invitation to Openness Les McCann Reissue Remastering 1971 L.A. Getaway Joel Scott Hill/Chris Ethridge/John Barb Remastering 1972 Familiar Songs Tom Rapp Remastering 1973 Accidentally Born in New Orleans Alexis Korner & Snape Remastering 1973 Tambu Cal Tjader with Charlie Byrd Mastering 1974 Re: Person I Knew Bill Evans Digital Remastering 1974 What The... You Mean I Can't Sing? Melvin Van Peebles Remastering 1975 Ella Fitzgerald at the Montreux Jazz Festival 1975 Ella Fitzgerald Digital Remastering 1977 Red Alert Red Garland Digital Remastering 1977 Third Plane Ron Carter with Herbie Hancock and Tony Digital Remastering 1978 Complete Galaxy Recordings Art Pepper Assistant 1978 Our Delights Tommy Flanagan with Hank Jones Digital Remastering 1978 Timekeepers Count Basie with Oscar Peterson Digital Remastering 1981 Send in the Clowns [Pablo] Sarah Vaughan with the Count Basie Orche Mastering 1983 Greatest Hits: Non-Stop Dance Party Sylvester Re-Assembly 1983 Two for the Blues Frank Foster with Frank Wess Digital Remastering 1986 Hand of Fate True West Producer, Engineer 1987 Twisted Roots Twisted Roots Guitar (Acoustic), Engineer 1988 Two Steps From the Middle Ages Game Theory Engineer 1991 Piano: East/West Various Artists Digital Remastering 1992 What's Really Going On? Mac Dre Mixing 1993 Who Can Be Trusted? Ray Luv Mixing 1993 Young Black Brotha Mac Dre Mixing 1996 Out & About With Gone Jackals Gone Jackals Producer, Engineer, Mastering 1998 Bay Area's Greatest Hits, Vol. 1 Various Artists Mixing 1998 Blue Pyramid Gone Jackals Artwork, Mastering 2001 Heavy Rescue Om Attack Mastering 2003 Jewels Were the Stars Pearls Before Swine Digital Remastering 2003 Valley Hi/Some Days You Eat the Bear and Some Days th Ian Matthews Reissue Mastering 2004 Barbara Keith [Water] Barbara Keith Remastering 2004 Bird Song: Live 1971 The Holy Modal Rounders Mastering 2004 Live: San Francisco Prophetz of Time and Space Engineer, Live Sound Engineer 2004 Silver White Light: Live at the Isle of Wight 1970 Terry Reid Mastering 2004 Wizard of Is Pearls Before Swine Mastering 2004 You Thrill Me: A Musical Odyssey 1962-1979 Patty Waters Mastering

Sign me up... if it's anything like Side 1 of "Patty Waters Sings," I'm down. I like that creepy, low-key piano & vocals material just as much as the out stuff. And yes, she was/is a _gorgeous_ lady, as the album cover attests to (nude or not).

This is an article from Andy Whitman from a magazine called "Paste," which bills itself as: "Paste Magazine is one of the fastest growing independently published music magazines in the country. We pride ourselves in being the premier magazine for people who still enjoy discovering new music, prize substance and songcraft over fads and manufactured attitude, and appreciate quality music in whatever genre it might inhabit--indie rock, Triple-A, Americana, folk, blues, jazz, etc. What other magazine would dare run features on singer/songwriter Patty Griffin and rapper Gift of Gab (from Blackalicious) in the same issue?" ------------------------------------------------------------- Anyway here's the piece ... Confessions of a Jazz Hater The album was Miles Davis’ Bitches Brew, and I desperately wanted to like it. Rolling Stone raved about it, and in those heady days that was as good as canonical truth. To hear the ecstatic reviewers tell it, Bitches Brew was unquestionably one of the greatest and most important albums of all time, the simultaneous birth and apex of jazz-rock fusion. And I was absolutely convinced. It seemed as likely a place as any for an inquisitive 15-year-old fan of rock ’n’ roll to start exploring the vast, mysterious realm of jazz. There was only one problem: I hated it. It was awful. Bitches Brew sounded nothing like Chicago or Blood, Sweat, & Tears—the closest touchstones I had to jazz-rock fusion at the time. I couldn’t find a melody, couldn’t find a rhythm to latch onto, couldn’t find one single redeeming quality in the sprawling, incoherent mess. If this was jazz, who needed it? And so I slammed the door on an entire genre for another 15 years. I know. It’s stupid to write off 100 years of great music because of one bad experience. But I’ve found—as I’ve done my own informal poll of my musical friends—that my experience has been shared by many other people, and with many other jazz albums. If people don’t grow up with jazz (and the vast majority of music listeners don’t), sooner or later they get curious. They buy their token jazz CD, just to test the waters. And far too many of them turn away in disappointment. The same music fans who patiently sat through endless improvisational noodling from the Grateful Dead, who willingly tolerated and enjoyed 10-minute drum solos during the height of the Prog Rock era, suddenly can’t sit still for a John Coltrane solo. Why? What is it about jazz improvisation that is so foreign, that inspires such a strong reaction from people who otherwise seem like calm, rational human beings? “I hate jazz,” my friend tells me. “Absolutely can’t stand it. I’d rather get a root canal than listen to it.” Okay, he’s a masochist, maybe a fool. But he also listens to a lot of music. What is it that turns an otherwise intelligent, temperate man into a foaming, frothing lunatic? I think I have some clues. For starters, there’s very little new here. Jazz makes up a miniscule three percent of all music sales. There are temporary spikes in the music’s popularity—as, for example, when Ken Burns’ documentary Jazz aired on PBS several years ago. But those anomalies cannot camouflage an almost 60-year decline in the commercial viability of the music. As recently as the early 1970s, iconic jazz figures such as Miles Davis and John Coltrane were known by most serious rock fans, and their music could occasionally be heard on freeform FM radio. With the advent of narrowcasting, those days are long gone. And although the crossover appeal of jazz-like vocalists such as Norah Jones and Diana Krall signals something of a mini-renaissance in the jazz-music industry, there is, sadly, no evidence to suggest that jazz vocalists bring new listeners into the instrumental jazz fold. Second, as much as its devotees want to downplay the issue, jazz suffers from an image problem. Even hardcore music fans—those who spend inordinate amounts of time and money on their favorite music—tend to ignore it. It’s either perceived as the domain of a coterie of effete music snobs or as inconsequential, pleasant background noise. They think of the roots of the music—Louis Armstrong and Duke Ellington in grainy black and white newsreel footage; important, to be sure, but ancient history. Or they think of the puffery heard on “Jazz Lite” stations, barely one step removed from Muzak. The New Traditionalists who arose in the 1980s—Wynton Marsalis, Roy Hargrove, Joshua Redman, Marcus Roberts—could have stepped in to fill the void. Instead, they were so focused on slavishly imitating the post-bop jazz of the mid-1960s that they missed the opportunity. And now we’re approaching 35 years—roughly the time since Miles dropped Bitches Brew on an unsuspecting world—without anyone at the helm, without a single iconic jazz figure to serve as a focal point for the music, let alone the half dozen or more who prevailed throughout the ’50s and ’60s. Obviously, I don’t hate jazz anymore. I’ve learned to love it, and have spent much of the last 20 years avidly following new trends and filling in the gaping holes in my music collection, trying to make up for the fact that I had ignored almost a century of musical greatness. You’ll find the usual suspects in my list of favorites—Armstrong, Ellington, Holiday, Monk, Hawkins, Parker, Coltrane, Rollins, Evans, and yes, most certainly Miles Davis. But that transition to musical elitism—or whatever it is—didn’t come easily, and I sympathize with those who’ve tried unsuccessfully to enter the door into a whole new realm of music. I do know that it helps to find the transitional albums, those albums bridging the gap between familiar musical genres and the impenetrable world of jazz (see “Ten Gateway Albums”). In spite of what some purists say, jazz has never existed in isolation from the rest of the musical universe. Louis Armstrong, long revered as the Father of Jazz, had no qualms about recording pop standards throughout his long career. It’s a practice that has continued throughout the history of the genre, from the great Charlie Parker covers of ’40s and ’50s pop standards through The Bad Plus’ frequent forays into the music of Nirvana and the Pixies. It’s almost always instructive to hear what great jazz musicians can do with a familiar tune. The early-to-mid ’70s were filled with excellent examples of jazz-rock fusion, back before fusion took on the emasculated connotations it now has. And there are many albums featuring jazz-rock guitar heroics. Fans of the blues will find a familiar touchstone in many of the greatest jazz improvisations, and it’s really not a great leap to move from the incandescent guitar solos of a Stevie Ray Vaughan or a Buddy Guy to the equally luminous blues-based solos of Miles Davis on Kind of Blue or John Coltrane on Blue Train. The door will open. In retrospect, Bitches Brew really is a great album. It was just the wrong place for me to start. It’s a long, long journey from the straightforward three-chords-and-a-backbeat foundation that underlies much of rock music to the experimental free-jazz excursions of late-period John Coltrane (or Bitches Brew, for that matter), and it would have been helpful to have some signposts along the way to point the direction. You can get there from here. It starts with a willingness to hear new sounds, and it proceeds along a path that moves from the familiar to the increasingly unfamiliar. There may be no hope for those who truly prefer the dentist chair to jazz. But for the rest of the sane universe, there’s every reason to believe that jazz haters can become, if not jazz lovers, then at least begrudging admirers of the form. Interested in starting your journey into jazz, but you don't know where to begin? Here are 10 Gateway Albums to start you on your way. 10 Gateway Albums People approach jazz from every musical direction imaginable, from sensitive singer/songwriter folkies and hip-hop devotees to heavy-metal headbangers. Here are some directions that will lead to jazz’s open door. The Bad Plus These Are the Vistas (2003) Pianist Ethan Iverson plays like Rachmaninoff’s hip kid brother, while bassist Reid Anderson and drummer Dave King pummel like the Led Zeppelin rhythm section. Great improvisation and heavy metal thunder, with covers of Nirvana, Blondie, and Aphex Twin. Dapp Theory Y’all Just Don’t Know (2003) Pianist Andy Milne is a veteran of NYC saxman Steve Coleman’s band, but here he mixes breakneck jazz runs with the hip-hop preaching of MC/vocalist Kokayi and Bruce Cockburn’s incisive political commentary. Al DiMeola Elegant Gypsy (1976) Al DiMeola was and is a genuine guitar hero. “Race With Devil on Spanish Highway” would give Clapton a run for his money in terms of blinding speed, while “Mediterranean Sundance” is a terrific blend of jazz fusion and flamenco stylings. Mahavishnu Orchestra Birds of Fire (1972) In 1972, “fusion” wasn’t a bad word. Birds of Fire is guitarist John McLaughlin’s finest hour, and this album features one blazing electric solo after another. Miles Davis meets Jimi Hendrix. Oh yeah, the rest of the band is pretty great, too. Brad Mehldau Anything Goes (2004) Make no mistake, Brad Mehldau is a serious jazz pianist, but he’s a big Radiohead fan as well, and he covers at least one Thom Yorke song per album. This one has “Everything in its Right Place,” a tender cover of Paul Simon’s “Still Crazy After All These Years,” and several fresh approaches to some hoary jazz standards. Joni Mitchell Hejira (1976) Joni’s jazz excursions could get dicey, as the subsequent albums Don Juan’s Reckless Daughter and Mingus would prove. But on Hejira she strikes the perfect balance between singer/songwriter introspection and searching jazz improvisation. Jaco Pastorius’ bass work remains a revelation. US3 Hand on the Torch (1993) These hip-hop visionaries merged great beats and pointed commentary with some notable samples from the vast Blue Noteback catalog. Herbie Hancock, Art Blakey and Horace Silver sound superb in the contemporary setting, and the rappers are in prestigious company indeed. Weather Report Heavy Weather (1977) More fusion magic. Joe Zawinul’s perennial hit “Birdland” will hook you with its joyous evocation of 52nd St. big band music, but his quiet, lovely ballad “A Remark You Made” will keep you coming back again and again. George Winston Autumn (1980) Pianist George Winston is the missing link between introspective jazz great Bill Evans and pastoral folk music. Sneer at the “New Age” label all you like; this album remains breathtakingly beautiful after almost 25 years. John Zorn Naked City (1989) Japanese speed metal, James Bond spy music, Ornette Coleman covers, spaghetti westerns, and avant-garde sax shriekfests all converge on this landmark album. What, you wanted Henry Mancini movie themes? Zorn’s got that covered too.

From Alan Lankin's Jazzmatazz Upcoming Jazz releases list: I'll look forward for this new one from Patty Waters. Her two ESP albums were real out of the ordinary! And since Burton Greene is just one step away from Ms. Waters, currently listening and enjoy Greene's Columbia LP 'Presenting Burton Greene' (with Byard Lancaster, Steve Tintweiss and Shelly Rusten) which I had not spinned in a long, long time. Doubt that Sony will ever reissue that one! Hope somebody else will. Water maybe??? What on earth was going on at Columbia when they recorded this (and the Sonny Murray album they never released)? The Greene album was produced by one John Hammond! Was Columbia trying to get hip and follow ESP's path? In any case, 35 years after it came out, the Greene music still sounds fresh!

I am more than grateful for the early ESPs. My opinion of Ayler would be 'fainter' without Spiritual Unity, etc. Without ESP what would you know of Byron Allen, Charles Tyler, Giuseppe Logan, Patty Watters, Burton Greene, Frank Wright, etc? The ESP label, in many ways, was similar to Dial and the emergence of bop. If you were there at the time, and open to new stuff, ESP was the only beacon. We should all be thankful for such a "naive NY lawyer".

Just visited their website and they list some new titles: Les McCann Invitation to openess Patty Waters A music Odyssey 62-69 and a double, Pearls Before Swine- Wizard of is.( this must be the promised album of live and outtakes)

The antidote is to keep hummin' "You belong to me"! I think you're right with the Mose suggestion, BTW. I tried some googling too, and couldn't believe how few jazz versions there are of that tune! I don't go back quite that far, but I think it was a pretty big hit back in the 40's/50's... for Jo Stafford as well as Patty Page, I believe (maybe one of the board's really old farts will fill us in. ). I'm loving this Mose Allison version more each time I spin it. There's an artist I've not only neglected, but consciously, and for too long. I've always "liked" what I've heard from him (usually the vocal stuff), but somehow have never been motivated to purchase his recordings. This experience will change that. And since it's Ray's fault, I'm going to ask him to chip in 10% on every Mose Allison CD I buy.

Patty is like the vocal version of Albert Ayler. She uses simple folk-song themes as a basis for extended vocal technique, expanding and intensifying through repetition. "Black is the Color" is the infamous side-long tour de force from her first LP, though I really like the College Tour record a lot. Cheers, *CT*

I have most things by Jeanne Lee, she is one of the great. I will investigate Patty Waters, if it is on ESP it must be different!! Thanks a million

I assume you've got the Jeanne Lee-Ran Blake duo on RCA? I'd add Patty Waters to this selection; of course her ESPs are great but the vocal rendition of "Lonely Woman" she does on Marzette Watts' Savoy LP is stunning. And hit that Sheila Jordan thread if you haven't already. I love "Portrait of Sheila" but it is, surprisingly, one of the most hated by girlfriends. Mine, anyway.

You guys are right on that sharp provolone. I love fresh mozzarella and go crazy for parmesan reggiano. A good parmesan is not cheap, but there is nothing like it. I slice it very thin and eat it with some olives, prosciutto, hot capicola or salami. I enjoy swiss cheese when eating a ham sandwich or making something like a patty melt.

First of all, let me state for the record: DEEP is the most disgusting excuse for a sentient human being it has ever been my misfortune to encounter. Having said the politically correct thing, let me add: THE ASSHOLES WHO RUN THIS WEBSITE ARE A BUNCH OF LILY-WHITE FUNK WANNABES WHO MISTAKE THEIR DESPERATE NEED FOR COMMERCIAL SUCCESS AS AN EXCUSE TO SANITIZE THE CANDID PLAYFULNESS OF THE PARTICIPANTS. So move to the U.P., eh? Tryin' to make it real?---COMPARED TO WHAT? Deep started his thread to make an honest effort to reach out to Christiern. Christiern got all bitchy about it. The thread strayed into other territories. SO WHAT? He (Chris A.) is such a rabid Bush-hater that the direction was almost inevitable. GET RID OF THAT ASSHOLE! Patty hasn't posted lately--SO WHAT? She has been playing the long-suffering cunt saint so long that we're all tired of it. LET THE STIMULATION RETURN and FUCK A BUNCH OF REISSUES OF "LOST BOOTLEGS OF NEVER-REMEMBERED MINOR INFLUENCES ON MAJOR SIDEMEN OF UNDERAPPRECIATED PROGENITORS." What is this--Romper Room or some FUN? FUCK NEPOTISM! You know who you are, Use3D. What's your axe, "DELETE"? The Grope-A-Dope Has Spoke(n)

So that's why we haven't seen much of Patty today. She must be over there!

Patty: Oh, well--I guess OLIVE BRANCHES just don't work at Organissimo, Inc. Just be happy I haven't used the L-WORD.

Yeah, but I'm glad they gave the guy a chance, which as you and I both know is more than I would have done. Sometimes being fair is a pain in the ass, but it's still the right thing to do. Thumbs up once again to Jim. liberal :rsmile: You know it, dude! Patty, as far as you're being thin-skinned or not, of course not. On the other hand, this did serve one purpose: I found out I'm not the only one who only reads posts like this long enough to catch a whiff. I guess that's why I'm not that familiar with many of Deep's posts; the ripeness was pretty obvious. At the very least, the Groper owes you an apology. And anyone here who might have or have had a mother, sister, daughter, etc. Probably includes a few of us, anyway...

The mystery is no mystery. This was the post to which I made reference. It stood unobjected to. Was I being thin-skinned?? Perhaps not, Patty. Truth is that I have the tendency to speed read through a lot of these posts and I miss all the good stuff!

So, Patty, are you gonna catch the next Alberta Clipper with connections to the Jet Stream over the Big Pond? I'm tempted to watch the mayhem, but I'd probably end up being compared negatively to His Deepness and vilified by Frenchmen. Here I am more appropriately vilified by FAMBLY. You, on the other hand, possess the deft womanly touch of sanity. GO FOR IT!

DEEP had to go. Way too much abuse and disrespect for others. Patty is a valuable poster. I think GROPE can be reasonable. Hope he sticks around. Good job, B-3er and sorry you and Use had to take so much abuse. No one deserves that. He was just too much of a dividing force. And the humor really got STALE.

Geez Whiz, fellas and Patty--Can't a guy plant a modest little stink bomb and evacuate for a few hours without our whole JAZZ/COUNTRY COMMUNITY reaching critical mass? "Sad Troll" that I am, I just thought that some of us were acting a little embarrassed by our country cousins and that there were overtones of "white trash" emanating from some of the posts. Things seemed pretty loose, however, and the digression inspired some fun. Each person's sense of humor has its limits, though, so I guess--as usual--it had to get ugly. DEEP went over the top (again), but I think it's fair to say that Use3D showed NO GOOD HUMOR AT ALL. I didn't quite follow the FIST/NAZI connection, but I can't see hammering someone for trying to make a point, valid or not. ORGANISSIMO, INC: Do you really want an HOMOGENIZED website? Isn't an all white bread diet kinda boring? OPEN THE DOOR TO DEEP!

Me (I play 'cello), Patty Waters and Becky Friend. 'Course, wouldn't hurt that they were/are sixties free jazz goddesses...

Ah, the delights of provocation... DEEP has now been capped twice in two days because he dissed Organissimo, Inc. The first time was in reaction to his dare after he crowed too often about the Olive Branch thread having such "legs." We'll just chalk that one up to proprietary jealousy. We can't be allowing anyone to sell unsanctioned products in the CORPORATION'S advertising space. The "Kroesenopolis" thread is a more interesting case and actually touches on the subject of (whaddya know?) MUSIC. Maybe one or more of you ENLIGHTENED types can explain to me just why the JAZZ COMMUNITY looks down its nose at country/western music. Patty very nearly EXCRETES snobbery and mock horror at the culture and appurtenances of agrarian types. DEEP'S parodying of Use3D apparently was the ultimate insult, sending him ballistic. I can understand TASTE and AESTHETIC preferences, but aren't JAZZ and COUNTRY both authentic American folk MUSIC? There's certainly an element of urban-rural tension involved, but may I suggest, for collective inspection, the possibility that it's a manifestation of political correctness? Does "singin' the blues" trump "cryin' in my beer?" and might there be a racial element at play?