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They ARE in the reissue game. Stollman is at the helm. I gripe but then again it's great to see this stuff out and getting decent distribution/press, and the ZYX licensed issues, Calibre/Get Back "licensed boots," etc. are long OOP anyway. Still, uncovering some of the archived material in a creative way would be nice. If repackaging is their MO, I'd like to see something like a "College Tour" boxed set with music from Ran Blake, Patty Waters, Burton Greene and Sun Ra. As far as new material, the best thing they've done IMO is the Talibam! CD.

Pat Harrington Patty Hearst Paul Hornung

Ginger Grant Rosemary DeCamp Peppermint Patty

Wow, I didn't expect anybody else (let alone two people) to mention Chad & Jeremy's version. It was my introduction also, and was the first LP I ever owned (a gift from an older brother). I even remember seeing them on the Patty Duke Show back in the day.

So my instinct (combined with whatever I've read in the past) about Patty Loveless was pretty dead on I guess. I knew there was something that kept me away from her. I'm not a big fan of that Nashville production. I've heard her harmonies on albums by Emmylou, Buddy and Julie Miller and I think Jim Lauderdale too and I've liked her voice well enough. I may dip my toe in and try Sleepless Nights. Re: Jim Lauderdale I have around eight or so albums by him and I find them very consistent. I think he's known in Nashville more for his writing than his solo albums but like Buddy Miller he's got a cult following including a lot of top musicians in the genre. He's always got great talent on his albums and there's no Nashville sheen on any of the albums I've heard. I saw him about a year ago play a solo gig and as great a songwriter as he is, he really knocked me out with his singing.

I've been curious about Patty Loveless for a while now but haven't made the plunge yet. As far as Geoff Muldauer goes, I've seen him a couple of times and own a few of his albums and I think he's extremely talented as a singer and a guitarist. The Secret Handshake and Beautiful Isle of Somewhere, the latter a solo recording from a concert in Germany are both excellent. I've seen Maria many times too and her Richland Woman Blues is an acoustic blues showcase with many guest musicians helping out in a very cohesive way.

Yes, I agree about Patty Loveless. Her version of Busted is great! In fact, much closer to the spirit of the tune and lyrics than Ray Charles' overproduced version, imo. For Norman Blake, Blind Dog has the songs I enjoy most.

Thanks, Six String. The Dave Alvin and Buddy/Julie Miller albums you mention I know - marvellous records all. I don't know Jim Lauderdale's music and Alejandro Escovedo is a completely unknown name to me. Thanks for the recs. Someone I like very much - even though she is in many ways living in the heart of the Nashville Beast - is Patty Loveless. Was enjoying the second of her two more bluegrassy albums this afternoon: And as the definition of 'contemporary' has become wondefully elastic, a word for Norman Blake. This one was fun earlier today: On the purely instrumental front, I've always loved this one: Jerry Douglas' albums can get a bit overproduced, but this one is joy from start to finish.

Patty Duke Duke Kahanamoku Bennett Cerf

Peppermint Patty Charles Schultz Colonel Klink

Wow, that's right about the age I figured out what Joel was saying all these years and promptly lost all respect for his music and especially his words. ******* A track called "Look No Further" from an album called No Strings (With Strings by Ralph Burns and His Orchestra made me feel all kinds of melancholy. After hearing it for the first time, all I kept remembering was the Peanuts episode "She's a Good Skate, Charlie Brown," the scene where Woodstock whistles "O Mio Babbino Caro" as Peppermint Patty ice skates. (no, I don't know squat about opera; Google and Wikipedia make finding answers so easy these days)

Great prices for the Bird and Billie. The Pres is a great disc. I like the Patty Waters a lot. And the Sun Ra is a trip.

I'm always up for a good burger. Locally, there's a joint called The Peanut Barrel that makes an absolutely killer olive burger. One of the best burgers I've had recently though was from a relatively new organic breakfast joint called Sawyer's Gourmet Pancake House. The burger had blue cheese in the middle of the patty, bacon, and a red onion tapanade along with a special sauce. Man... that is an awesome burger. So delicious. I had them put some jalapenos on it one time and that just put it totally over the top. At home I like to make mine with buffalo or lean ground beef, cooked in a pan with pepper, salt, and garlic and onion powder. Lettuce, stone ground mustard, ketchup, relish, cheese, and possibly bacon (if I have it). Yum.

I went last night and this was awesome. As I recall, this was who appeared: Jerry Lee Lewis Aretha Franklin Annie Lennox Jeff Beck Sting Buddy Guy Metallica Lou Reed Ozzie U2 The Boss Patty Smith Black Eyed Peas Mick Jagger I'm sure I missed a few. It was fabulous. I'm sure you'll never see that amount of talent on one stage at one time again.

It's a great record and the tracks on that comp don't do it justice, save the Patty Waters "Lonely Woman," which is just heartbreaking. Glad to say I bought a copy about two years ago.

Cherry Poptart Johnny Fuckerfaster Patty Melt (The things you know when you used to run a comic book shop... )

Several months later... Giuseppe Logan (who spells his first name with an "e" at the end) appeared again at (though not in) the Vision Festival in NYC this year and seems to be in better circumstances. He told us that he has an apartment of his own now in the East Village, which I was told by a very reliable source was acquired with the help of the Jazz Foundation. He's trying to play his alto saxophone with very few teeth, which is virtually impossible; the only other person I've known to do it successfully was the great Clarence "C" Sharpe. Mr. Logan seems to have trouble playing the alto saxophone for more than a few minutes, and it's hard to know why for sure, teeth or otherwise, but it seems to me that he stops because he's not happy with his playing. On the other hand, there was an upright piano in back of the room used as a dining hall by the Vision Festival for six nights, and Giuseppe Logan sat there and played the piano for hours on end for several evenings, and what he played was really lovely and fascinating, hesitantly delivered, but with exquisite harmonics. (He was working on "Giant Steps" for most of one evening while we were there.) This is from a man who probably hasn't had the opportunity to spend time with a piano for half a century. According to “The Encyclopedia of Jazz in the ‘6O’s" (Leonard Feather) and some other sources, Giuseppe Logan was born in Philadelphia on May 22, 1935. After singing in choirs and playing in his school band, he made his professional debut at 15. He studied with Dennis Sandole and others, and also at New England Conservatory. When interviewed for “The Encyclopedia,” he stated that politics, religion, and philosophy play an active role in all arts, and his ambition was to write a symphony. A somewhat mysterious figure, Mr. Logan was self-taught on piano and drums from age 12 before switching to reeds. At 15 he began playing gigs (his most conventional job was with Earl Bostic). In 1964 he moved to New York and became closely involved with the “free jazz” scene. Mr. Logan (who at that time played alto, bass clarinet, flute, tenor, piano, and Pakistani oboe) worked with Bill Dixon, Pharoah Sanders, and Archie Shepp, then formed his own quartet, which also included a young Don Pullen, Eddie Gomez, and Milford Graves; they appeared at the October Revolution in Jazz in 1964. Later on, Giuseppe Logan had a different quartet with Dave Burrell, was a member of Byard Lancaster‘s band, and toured with Patty Waters. He recorded three sets as a leader for ESP (reissued on CD) and also made guest appearances on records by Ms. Waters and Roswell Rudd (the latter for Impulse!). About his recordings, these comments appear in the "All Music Guide" and elsewhere: One of the most uncompromisingly “out” free jazz records of its time is The Giuseppe Logan Quartet (re-released on ESP CD in ‘O8). This 1964 session features Giuseppe Logan on tenor and alto sax, Pakistani oboe, clarinet, flute, and even bass, backed with a piano-bass-drums trio featuring drummer Milford Graves, who doubles on tabla, adding the then-unique Indian percussion sound to the opener, “Tabla Suite.” The other four tracks are slightly more restrained than that wild start, but while pianist Don Pullen and bassist Eddie Gomez occasionally slip into recognizable chord patterns and time signatures (particularly on the almost conventional opening section of the 15-minute “Bleeker Partita”), the completely free playing of Mr. Logan and Mr. Graves keeps the set firmly in free jazz territory. “More” with the same quartet was released on ESP in ‘65 and reissued on Calibre in 2OO2; and “At Town Hall” was released on ESP also in ‘65 and is not known to have been rereleased. Sonny Murray made these comments to "Paris Transatlantic": "They had a nice band with Giuseppe Logan. I was never sure when they first started if any of them knew what to do (laughs) but then I found out Giuseppe had a Masters degree, Don Pullen was highly educated, and Milford was good on all that Latin percussion. It was a great group, really. Giuseppe Logan lost his mind, which was really sad. That came about because his wife left him and took his son with her. He had a twelve-year-old son who could read music backwards, play the trumpet, and was a real genius. Giuseppe was very proud of his boy. When his wife left, that threw him into a tailspin he never recovered from, and he searched down south, everywhere, and he could never find his son or his wife." Coming back to this year's Vision Festival, Henry Grimes and Giuseppe Logan felt an immediate rapport, and Henry invited Giuseppe to play during Henry's solo set. It was the first time they had played together, there was no piano in that particular space, and Giuseppe only played his alto saxophone with Henry for about two minutes, but those were the most beautiful and emotional two minutes imaginable. It was the first time, but let's hope it won't be the last. http://www.henrygrimes.com musicmargaret[@]earthlink.net

A little more than half way through. Attendance not so great on many shows...although Tahoe and Portland were good. Anyone who lives in the Bay area and has wednesday night free should come down to The Amnesia Bar in SF. We play at 10pm with a open jam to follow. Also, check us out today (St. Patty's Day) in Davis at the Delta of Venus, Eugene at Cozmic Pizza on Thursday and Seattle at the Triple Door on Friday. Happy Spring ya'll! -john

A little more than half way through. Attendance not so great on many shows...although Tahoe and Portland were good. Anyone who live in the Bay area and has wednesday night free should come down to The Amnesia Bar. We play at 10pm with a open jam to follow. Also, check us out today (St. Patty's Day) in Davis (Delta of Venus), Eugene at Cozmic Pizza on Thursday and Seattle at the Triple Door on Friday. Happy Spring ya'll! -john

THis is hard... I may forget some Some nobody has mentioned I think: Bob Marley Jack Bruce Joao Gilberto Gram Parsons Toots Hibbert Steve Winwood John Lennon Paul McCartney Little Richard Chuck Berry Ray Charles Mick Jagger Greg Allman Mercedes Sosa Country singer favorites: Willie Nelson George Jones Tammy Wynette Hank Williams Merle Haggard Patty Loveless More: Bob Dylan Sandy Denny Muddy Waters Howlin' Wolf Van Morrison BB King Otis Redding Sam Cooke Marvin Gaye Dionne Warwick Joni Mitchell Rod Stewart Levon Helm (and the other Band singers too) and I am sure I am leaving out a favorite

Oh yes! How could I space on her? Lee is a very diverse singer - able to sing or recite lines "straight" yet with an ineffable sense of depth. And her production of free, non-lyric sounds is unparalleled. I particularly like her work with Gunter Hampel. Still, my desert island vocal disc would be Patty Waters' You Thrill Me (Water).

Find the singers who most fit with the instrumental sounds/approaches you like. The vocalists who, for me, have made the most impact are those who treat their voice as a conduit for deep personal feelings and not just singing the lyrics pat. Some whom I like in particular: Patty Waters, Sheila Jordan, Annie Ross. YMMV.

I've heard recordings of Brotzmann and Kowald with Jazzrealities and it's pretty interesting from a historical point of view but of course the Fontana LP does it all way better without them. Keep in mind that Brotzmann couldn't read music at that time (not sure about Kowald). I believe that Giuseppi's reading was pretty good, from what I've been told. Everywhere may be a little off balance in Giuseppi's favor, but I have the sneaking suspicion that he was not playing very loudly or projecting that much. If you listen to his commentary on Patty Waters' College Tour LP, it's definitely off in the distance. Maybe that was intentional, or psychological, OR a result of poor miking.

Booklets are provided as a matter of course by some of the smaller classical companies - Chandos, Gimmel etc. I recently bought the recent Patty Loveless album via iTunes and the full booklet was part of the download package. We're thinking about reproducing the packaging of the past. It's not something that I care too much about (though I like a distinctive 'cover' that identifies the recording at a glance). But I wonder if this new way of distributing music might generate some highly novel ways to 'packaging' - doesn't have to come shaped like a CD booklet! I imagine a sort of 'goody bag' being attached to pop recordings (plus plenty of advertising!).

Phil Harris Arville Harris Patty d'Arbanville