General Comments for all Naweedna CDs

Will Moyle’s Jazz Alive, a locally produced master collection of classic jazz. The Will Moyle stuff is the best collection of jazz I’ve ever heard. Originally recorded by me in the 80s.

FFUSA: Folk Festival USA, a nationally distributed collection of excerpts recorded live at various folk festivals around the country – varying from traditional country to purely ethnic, to socio-political (one lesbian festival, in fact). FFUSA is eclectic, and the live recordings often catch a lot of crowd noise as well as bad microphone placement. Originally recorded by me in the 80s.

GTWG: The Glory That Was Grease, another locally produced broadcast that featured the formative years of Rock and Roll from the 50s and 60s – my youth. The “Grease” may have been “Greece”, the Rochester suburb where the program originated. The GTWG is marginal but good for reminding my generation of their teenage years – if that can be considered a good thing. Originally recorded by me in the 80s.

BBGR: Big Band Go Round, yet another local program featuring … Big Band, but also including most anything recorded from 20s to the 50s. The BBGR is so broad that it is unlikely to be duplicated anywhere. However, you have to have a fondness for the crackle of scratchy old 78’s and an appetite for schmaltz to fully appreciate it. Originally recorded by me in the 80s.

PHC & PHC-D: Prairie Home Companion – the middle years. I didn’t get started with PHC until the 80s, so I missed the early period, and I stopped recording when Garrison retired – for the first time. Remember the unfortunate guy who took over the time slot from Garrison? Me, neither. AS IF anyone could do that – a classic no-win situation. When Garrison un-retired (like Michael Jordan), the second version of the show was based in NYC, and I didn’t care for it that much, so I didn’t record it. A few years later I discovered that he had gone back to the old format and was broadcasting from St Paul, MN. I’ve been digitizing those programs in real time over the last couple years, and they are designated as PHC-D. The PHC stuff contains the essence of American music – in my not-so-humble opinion. The only nationally broadcast show that ever came close to matching PHC for quality and variety was the TV show, Northern Exposure – go figure. I have two Northern CDs; if there are more, I would like to know about them ASAP.

The dates represent the release date of the album or CD source. These dates are as accurate as I can obtain. The dates for some tracks from compilations reflect the release date of the compilation.

As usual, my comments are in blue. The other information comes from www.allmusic.com. Additions and corrections are welcome … encouraged, in fact.

B1 Waiting For Jane - Eddie Rochester AndersonTribute to Black Entertainers (1982)

I first heard this on Dr. Demento. Amazingly, it showed up on this Tribute to Black Entertainers five CD set I found in Milne Library. I think the reasons for including it will be obvious with your first listen.

Tribute to Black Entertainers Artist Various Artists Album Title Tribute to Black Entertainers Date of Release Dec 1, 1919 - Jul 19, 1982 (release) AMG Rating 3 *Genre Rock Type various artists, box Time 150:22 This two-CD set is rather odd. Programmed loosely (but not exactly) in alphabetical order, the first 41 selections mostly stick to early jazz of the pre-1950 era with the emphasis on vocalists ranging from the comedian Bert Williams and Louis Armstrong to Cab Calloway and Sarah Vaughan. The final nine numbers attempt to sum up the past 40 years in Black pop music (jazz is notably absent so was probably judged not "entertaining") and has performances from the likes of Aretha Franklin, Little Richard and Marvin Gaye. This sampler (which does contain some formerly rare early recordings) is a bit of a hodgepodge, making jazz appear to be a historical music that ceased to exist 45 years ago. — Scott Yanow 1. The When the Moon Shines on the Moonshine performed by Bert Williams - 3:04 2. I'm a Little Blackbird (Looking for a... performed by Williams, Clarence Blue Five - 3:20 3. Dinah performed by Ethel Waters - 3:14 4. I Ain't Scared of You performed by Butterbeans & Susie - 2:53 5. Camp Meeting Day performed by Sissle, Noble and His Orchestra - 2:59 6. Memories of You performed by Armstrong, Louis, & His Sebastian New - 3:12 7. Aux Iles Hawaii performed by Josephine Baker - 2:43 8. Oh, Lady Be Good performed by Buck and Bubbles - 3:27 9. Go Harlem performed by Jimmy Johnson - 3:32 10. How'm I Doin'? (Hey, Hey!) performed by Connie's Inn Orchestra - 3:11

11. A Shine on Your Shoes/Louisiana Hayride performed by Monette Moore - 3:13 12. The Man from Harlem performed by Calloway, Cab & His Orchestra - 3:08 13. Old Yazoo performed by Washboard Rhythm Kings - 2:56 14. You Gave Me Everything But Love performed by Adelaide Hall - 3:11 15. Doin' the New Low Down performed by Bill Robinson - 2:33 16. Baby, Ain't You Satisfied performed by Dickey Wells' Shim Shammers - 3:25 17. Rosetta performed by Hines, Earl & His Orchestra - 3:10 18. Jungle Fever performed by Mills Brothers, The - 3:06 19. Miss Otis Regrets performed by Four Blackbirds - 3:04 20. Margie performed by Hopkins, Claude & His Orchestra - 3:12 21. Catch On performed by Calloway, Blanche and Her Orchestra - 2:35 22. A High Hat, A Piccolo and a Cane performed by Dandridge, Putney and His Orchestra - 2:30 23. It Was a Sad Night in Harlem performed by Ellington, Duke and His Orchestra - 3:05 24. Keep a Twinkle in Your Eye performed by Nicholas Brothers - 2:57 25. When Lights Are Low performed by Elisabeth Welch - 2:50 26. I May Be Wrong (But I Think You're... performed by John Kirby - 3:01 27. The Flat Foot Floogie performed by Slim & Slam - 2:31 28. 'Tain't What You Do (It's the Way That You performed by Lunceford, Jimmie & His Orchestra - 3:05 29. Don't Worry 'Bout Me performed by Basie, Count Orchestra - 2:48 30. Baby, Look at You performed by Johnson, Pete & His Boogie Woogie... - 3:02 31. Body and Soul performed by Holiday, Billie and Her Orchestra - 3:00 32. How Long Blues performed by Basie, Count, & His Orchestra - 3:04 33. If I Had a Ribbon Bow performed by Maxine Sullivan - 3:09 34. Waiting for Jane performed by Eddie Anderson - 2:52 35. Prisoner of Love performed by Lena Horne - 3:23 36. Saturday Night Fish Fry performed by Pearl Bailey / Moms Mabley - 2:54 37. Nat Meets June performed by Metronome All Stars - 3:38 38. Ain't Misbehavin' performed by Sarah Vaughan - 3:02 39. What Kind of Fool Am I? performed by Davis, Sammy Jr. - 3:20 40. A-Tisket, A-Tasket performed by Ella Fitzgerald / Webb, Chick Orchestra - 2:23 41. Hey! Bartender, Give That Man a Drink performed by Joe Williams / Saunders, Red & His Orchestra - 2:26 42. Today I Sing the Blues performed by Aretha Franklin - 2:47 43. Trying performed by Laverne Baker - 2:37 44. Please Come Home for Christmas performed by Charles Brown - 2:52 45. Tutti Frutti performed by Little Richard - 1:20 46. Try Me performed by James Brown - 2:36 47. For the Love of Money performed by OJays - 3:46 48. Summer Breeze performed by Isley Brothers - 3:09 49. Sexual Healing performed by Marvin Gaye - 4:07 50. Dance to the Music performed by Sly & the Family Stone - 3:00

B2 Action Man - John Cephas & Phil WigginsAlligator Records 25 Years (1996)

This is from a great CD set I got from Mahoney. I have a lot of Cephas & Wiggins. All are good, but this one is special. There will be more selections from this CD set for sure.

The duo of acoustic guitarist John Cephas and harpist Phil Wiggins enjoyed a partnership spanning across several decades, during which time they emerged among contemporary music's most visible exponents of the Piedmont blues tradition. Both were born in Washington, D.C., although Wiggins was a quarter century younger than his partner; they met at a jam session in 1977, and both performed as regular members of Wilbert "Big Chief" Ellis's Barrelhouse Rockers for a time prior to Ellis' death. Their music, rooted in the rural African-American dance music of Virginia and North Carolina, showed the influence of Blind Boy Fuller, Gary Davis, and Sonny Terry, with a broad repertoire consisting of Piedmont blues standards as well as an eclectic sampling of Delta stylings, R&B, ballads, ragtime, gospel, and country & western; from their 1984 debut onward, Sweet Bitter Blues, Cephas and Wiggins' sound applied sophisticated traditional instrumentation and modern gospel-edged vocals to both traditional standards and their own hard-hitting compositions, offering a soulful acoustic option to electric blues. A popular festival act, they also issued LPs including 1986's W.C. Handy Award-winning Dog Days of August, 1988's Walking Blues, 1992's Flip, Flop and Fly and 1996's Cool Down. They kept going strong and in 1999 released their ninth album, Homemade, on the legendary Alligator label. In 2000 Bullseye Blues issued From Richmond to Atlanta, a compilation of tracks from Cephas & Wiggins' three Flying Fish albums recorded between 1984 and 1992. The duo continued to tour and play festivals, helping to keep the Piedmont sound alive. In the summer of 2002, they released Somebody Told the Truth, a mixture of old and new tracks that reintroduced them to the next generation of blues fans.

The Alligator Records 25th Anniversary Collection Artist Various Artists Album Title Alligator Records 25th Anniversary Collection Date of Release Mar 1996

AMG Rating 4.5 *Genre Blues Type various artists Time 146:45 This is a specially priced, two-CDs-for-the-price-of-one photocube set, loaded with great stuff from Charlie Musselwhite, Koko Taylor, Lonnie Brooks, Johnny Winter, Billy Boy Arnold, Lonnie Mack and a host of others who've trotted their wares on the label over the years. Besides giving the novice one great introduction to the label (as the music runs from traditional to modern), the big bonus here is a treasure trove of previously unissued tracks from Roy Buchanan (a chaotic version of Link Wray's "Jack the Ripper"), Floyd Dixon (a recut of his Blues Brothers-approved hit "Hey Bartender"), Albert Collins and Johnny Copeland in a marvelous out-take from the Showdown! album ("Something to Remember You By") and the band that started it all, Hound Dog Taylor & the HouseRockers, with a crazed version of Elmore James' "Look on Yonder's Wall," as sloppy as it is cool. Very good stuff and at these prices, a bargain and then some. — Cub Koda 1. Don't Pick Me for Your Fool performed by Son Seals - 4:15 2. Diggin' My Potatoes performed by James Cotton - 3:38 3. Something to Remember You By [#] performed by Albert Collins / Johnny Copeland - 5:26 4. The Complainer's Boogie Woogie performed by William Clarke - 4:52 5. Stingaree performed by Charlie Musselwhite - 2:54 (future Naweedna selection) 6. It's Alright [#] performed by Lil Ed & the Blues Imperials - 4:46 7. Man Smart (Woman Smarter) performed by Chenier, Clifton & His Red Hot... - 3:02 (on Naweedna 2003) 8. I Want to Be Your Spy performed by Vaughn, Maurice John - 5:34 9. Hey Bartender [#] performed by Floyd Dixon - 3:24 10. Sitting on Top of the World performed by Shaw, Eddie & The Wolf Gang - 3:41 11. Action Man performed by Cephas & Wiggins - 1:53 (Naweedna 2002B) 12. Bayou Blood performed by Kenny Neal - 3:14 13. T-Bone Intentions performed by Hunter, Long John - 3:08 14. 'Tain't Nobody's Bizness If I Do performed by Saffire the Uppity Blues Women - 4:12 15. If You Have to Know performed by Lonnie Mack / Vaughan, Stevie Ray - 4:31 16. Been Gone Too Long performed by Arnold, Billy Boy - 2:54 17. A Quitter Never Wins performed by Tinsley Ellis - 6:10 18. I Ain't Got You performed by Sugar Blue - 2:37 19. Crawfish Fiesta performed by Professor Longhair - 3:13 (Naweedna 2001) 20. Evil performed by Koko Taylor - 4:59 21. Got Lucky Last Night performed by Lonnie Brooks - 2:59 22. Blues Lover performed by Bob Margolin - 4:53 23. I Could Deal With It performed by Little Charlie & the Nightcats - 4:06 24. Cherry Red Wine performed by Luther Allison - 4:22 25. Hard Lovin' Mama performed by Katie Webster - 4:12 26. She Puts Me in the Mood performed by Elvin Bishop - 3:32 27. Low Down Dirty Shame performed by Carey Bell - 4:29 28. Six O'Clock Blues performed by Lucky Peterson - 3:42 29. Keep Your Motor Running performed by Dave Hole - 3:45 30. Roots Woman performed by Corey Harris - 2:50 31. Can't Recall a Time performed by Hill, Michael Blues Mob - 3:45 32. Baby, Baby, Baby performed by Buchanan, Roy w / Delbert McClinton - 4:23 33. Jack the Ripper [#] performed by Roy Buchanan - 2:47 34. Got to Find My Baby performed by Johnny Heartsman - 3:04 35. Love, Life and Money performed by Johnny Winter - 5:20 36. Look on Yonder's Wall [#] performed by Taylor, Hound Dog & the Houserockers - 3:27 37. Somebody Loan Me a Dime performed by Fenton Robinson - 2:56 38. We're Outta Here performed by Clarence Brown - 3:50

B3 Come On Baby - Jimmy SmithHome Cookin' (1958)

I started collecting Jimmy Smith back in the early 60s. I find his organ work distinctive and it continues to sound good after all these years. This track is from the very first Jimmy Smith vinyl I bought. I have several other vinyls and lots of downloads – especially his work with Wes Montgomery. There will be more Jimmy Smith tracks on future Naweedna CDs.

Though he never received any exaggerated title, Jimmy Smith certainly ruled the Hammond organ in the '50s and '60s. He revolutionized the instrument, showing it could be creatively used in a jazz context and popularized in the process. His Blue Note sessions from 1956 to 1963 were extremely influential and are highly recommended. Smith turned the organ into almost an ensemble itself. He provided walking bass lines with his feet, left hand chordal accompaniment, solo lines in the right, and a booming, funky presence that punctuated every song, particularly the up-tempo cuts. Smith turned the fusion of R&B, blues, and gospel influences with bebop references and devices into a jubilant, attractive sound that many others immediately absorbed before following in his footsteps. Smith initially learned piano both from his parents and on his own. He attended the

Hamilton School of Music in 1948, and Ornstein School of Music in 1949 and 1950 in Philadelphia. Smith began playing the Hammond in 1951, and soon earned a great reputation that followed him to New York, where he debuted at the Café Bohemia. A Birdland date and 1957 Newport Jazz Festival appearance launched Smith's career. He toured extensively through the '60s and '70s. His Blue Note recordings included superb collaborations with Kenny Burrell, Lee Morgan, Lou Donaldson, Tina Brooks, Jackie McLean, Ike Quebec, and Stanley Turrentine, among others. He also did several trio recordings, some which were a little bogged down by the excess length of some selections. Smith scored more hit albums on Verve from 1963 to 1972, many of them featuring big bands and using fine arrangements from Oliver Nelson. These included the excellent Walk on the Wild Side. But Verve went to the well once too often for crossover dollars, loading down Smith's late-'60s album with hack rock covers. His '70s output was quite spotty, though Smith didn't stop touring, visiting Israel and Europe in 1974 and 1975. He and his wife opened a club in Los Angeles in the mid-'70s. Smith resumed touring in the early '80s, returning to New York in 1982 and 1983. He re-signed with Blue Note in 1985, and has done more representative dates for them and Milestone in the '90s. After a five-year layoff, Smith returned in early 2001 with the blues projects Fourmost Return and Dot Com Blues.

Home Cookin' Artist Jimmy Smith Album Title Home Cookin' Date of Release Jul 17, 1958 - Jun 16, 1959 (recording) AMG Rating 4 *Genre Jazz Time 69:31 Organist Jimmy Smith and guitarist Kenny Burrell always had a close musical relationship, making each of their joint recordings quite special. This album features the pair along with drummer Donald Bailey and (on four of the seven songs) the obscure but talented tenor saxophonist Percy France. The emphasis is on blues and basic material including versions of "See See Rider," Ray Charles's "I Got a Woman" and several groups originals, and as usual, the performances are swinging and soulful. The CD reissue adds five "new" performances to the original seven. — Scott Yanow 1. See See Rider (Rainey) - 6:32 2. Sugar Hill (Burrell) - 5:19 3. I Got a Woman (Charles/Richard) - 3:52 4. Messin' Around (Smith) - 5:54 5. Gracie (Smith) - 5:51 6. Come on Baby (Burrell) - 6:48 7. Motorin' Along (McGriff) - 5:05 8. Since I Fell for You (Johnson) - 4:16 9. Apostrophe (France) - 6:32 10. Groanin' (Smith) - 8:07 11. Motorin' Along [alternate take/#/*] (McGriff) - 5:00 12. Since I Fell for You [alternate take/#/*] (Johnson) - 6:15

B4 Dance Of Quechuas - Init IllimaniFlight of the Condor (1982)

We first heard this Andean music on a PBS documentary entitled Flight of the Condor. This, obviously, is the soundtrack from that program. There is a second CD, Return of the Condor, and we have both vinyls. I’ve digitized them, and this is a sample. I like the breathy flute very much, and there are other selections destined for inclusion on future Naweedna CDs.

For well over 30 years, Inti-Illimani (the name translates as "Sun God") has held a beacon for Chilean music, both the traditional folk styles and the more contemporary nueva cancion. Back in 1967 a group of students at Santiago's Technical University formed a band to perform folk music. Taking their name from the Aymaran Indian language of the Andes, they began playing traditional music — something few did back then — and quickly earned a reputation around the capital, becoming more and more adept on their instruments. By the '70s they'd grown into a political beast, taking on the nueva cancion (literally "new song") of many young groups, and being quite outspoken lyrically — enough to be forced into exile in 1973, where they'd stay for 15 years. However, they refused to be cowed by the Chilean dictatorship. Basing themselves in Rome, Italy, they continued to record, and toured more heavily then ever before, earning a powerful reputation around the globe, and becoming very unofficial ambassadors of Chilean music, as well as opponents to the ruling regime. In addition to performing with a number of famous, political figures like Pete Seeger and Mikis Theodorakis, they were included on the famous 1988 Amnesty International Tour, along with Sting, Peter Gabriel, and Bruce Springsteen. It was, perhaps, their highest profile moment, at least in worldwide terms, and set the stage for their return to their homeland, where they've continued to be outspoken. While they've remained a force in world music, their career in the U.S. was hampered by the lack of any consistent record deal until 1994, when they signed with Green Linnet offshoot Xenophile. Prior to that, only a few of their 30-plus discs made it into domestic U.S. record bins. The eight-piece lineup remained stable until 1996, when Max Berru decided to retire from music after almost three decades, shortly after the group had been celebrated with a Best Of disc in Italy (not to be confused with the 2000 Best Of on Xenophile, which collected tracks from their last four releases

only). Instead of replacing him, they've continued since as a septet. 1997 saw the band honored with a U.C. Berkeley Human Rights Award for their labors in the past. Since then, although they've continued to release albums and tour, they've cut back on their earlier hectic schedule, but also widened their musical horizons, as 1999's Amar de Nuevo looked at the complete spectrum of Latin roots music and its Creole heritage.

El Vuelo del Condor Artist Inti-Illimani Album Title Vuelo del Condor Date of Release 1982 (release) AMG Rating 4 *Genre Latin AMG REVIEW: This is the original soundtrack from the BBC television series depicting a condor's eye view of the stunning beauty and the contrast of the Andes mountains of South America. Two Chilean bands, performing on instruments indigenous to South America, were used to supply the background music to the series. The instruments include pan pipes, cane flutes, guitar and a mandolin-type instrument. — MusD

Return of the Condor Artist Inti-Illimani Album Title Return of the Condor AMG Rating 4*Genre Latin AMG REVIEW: From the first moments of their life as a musical group, Inti-Illimani began defining the objectives and the characteristics which have transformed this group into one of the most serious and well-known ensembles of popular Latin American music. They interpret more than 16 wind, string and percussion instruments that belong to European, indigenous, African and mestizo (half-breed) cultures. — MusD

B5 Early In The Morning - Joe TurnerWill Moyle's Jazz Alive

Will Moyle is a god. I have 622 tracks gleaned from his FM broadcasts back in the 80s (see introductory notes for more detail). Every track is good. I didn’t find this track especially endearing at first, but after listening to it a couple times, I found it continuing to rattle around in my head. Hope you have the same experience.

Though endlessly confused with the singer Big Joe Turner, pianist Joe Turner came from a completely different direction, following the James P. Johnson/Fats Waller stride tradition, armed with a superb technique and a fine sense of swing. He started to learn the piano from his mother at age five and began to make a name for himself in Harlem as a teenager shortly after his move to New York in 1925. He was an accompanist to Adelaide Hall in a duo with first Alex Hill and then Francis Carter, the latter with whom he and Hall toured Europe in 1931. He remained in Europe through 1939 when war broke out, upon which he returned to the U.S. to work as a singer. After playing with Sy Oliver's army band in 1944-1945 and Rex Stewart in 1946, Turner returned to the continent, residing in Hungary in 1948 and then Switzerland from 1949 to 1962. He settled in Paris in 1962 in a residency at La Calvados, continued to play engagements elsewhere in Europe and occasionally the U.S., and eventually survived to became the last major active stride pianist of his era. Among the few albums of his in print is a 1984 project with Knocky Parker and his Houserockers on Southland (beware: the Schwann catalog mistakenly includes some Big Joe Turner albums in the Joe Turner listing).

B6 I Ain't Got Nobody - Teresa BrewerWill Moyle's Jazz Alive (Songs of Bessie Smith-1973)

Okay, I really like Teresa Brewer. She has one of those voices that really works for me. Unfortunately, she wasted it on lots novelty and pop stuff in the 50s. However, this track with Count Basie and a couple she did with Stephane Grappelli are her best.

Teresa Brewer started out as a spunky novelty vocalist in the 1950s and weathered the rise of rock to emerge as an exuberant jazz singer in the 1970s. Though some find it disconcerting to hear her cutesy, slightly nasal Your Hit Parade-style delivery in a jazz context, at her best she can swing with a loose and easy fervor, aided greatly by the distinguished company she often keeps on her records. Brewer started singing on Major Bowes' Amateur Hour at the age of five and scored her first big hit as a teenager in 1950 with the diabolically catchy "Music! Music! Music!" That ditty found its way onto almost every jukebox in the land and launched a series of hit singles on Coral stretching all the way to 1961. Her marriage to record producer Bob Thiele in 1972 led to her re-emergence via a long string of albums for Thiele's labels (Doctor Jazz, Signature, Red Baron), often in tandem with such luminaries as Count Basie, Benny Carter, Duke and Mercer Ellington, Stephane Grappelli, Earl Hines, and Clark Terry.

Songs of Bessie Smith Artist Teresa Brewer with Count Basie Album Title Songs of Bessie Smith Date of Release Feb 1973 - Apr 1973 (release)

AMG Rating 4 *Genre Vocal Time 38:43 1. Trombone Cholly performed by Brewer / Count Basie - 7:01 2. Gulf Coast Blues performed by Brewer / Count Basie - 5:48 3. Downhearted Blues performed by Brewer / Count Basie - 5:15 4. Baby Won't You Please Come Home performed by Brewer / Count Basie - 3:37 5. St. Louis Blues performed by Brewer / Count Basie - 3:25 6. After You've Gone performed by Brewer / Count Basie - 3:06 7. I Ain't Got Nobody performed by Brewer / Count Basie - 3:11 8. Gimme a Pigfoot (And a Bottle of Beer) performed by Brewer / Count Basie - 3:53 9. I Ain't Gonna Play No Second Fiddle performed by Brewer / Count Basie - 3:27

B7 Jive Samba - Cannonball AdderleyJazz Workshop Revisited (1962)

Cannonball and his brother, Nat, are part of my 60s jazz collection. I have several vinyls, and this track comes from one of the best. I learned to call this kind of music “funk”, but it is now listed as bop or post-bop, whatever that is. Nancy Wilson frequently performed with the Adderleys. Nancy is from Columbus, so when she came home to visit or perform, the Adderley’s sometimes came too. I’ve seen all of them in the local coffee house called the Sacred Mushroom (1961-65). Let me tell you, the Adderley brothers completely filled the stage. It was impressive musically and physically. There will be more Adderley selections on future Naweedna compilations.

One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound (as opposed to many of the more serious stylists of his generation) that communicated immediately to listeners. His intelligent presentation of his music (often explaining what he and his musicians were going to play) helped make him one of the most popular of all jazzmen.

Adderley already had an established career as a high school band director in Florida when, during a 1955 visit to New York, he was persuaded to sit in with Oscar Pettiford's group at the Cafe Bohemia. His playing created such a sensation that he was soon signed to Savoy and persuaded to play jazz full-time in New York. With his younger brother, cornetist Nat, Cannonball formed a quintet that struggled until its breakup in 1957. Adderley then joined Miles Davis, forming part of his super sextet with John Coltrane and participating on such classic recordings as Milestones and Kind of Blue. Adderley's second attempt to form a quintet with his brother was much more successful for, in 1959, with pianist Bobby Timmons, he had a hit recording of "This Here." From then on, Cannonball always was able to work steadily with his band.

During its Riverside years (1959-1963), the Adderley Quintet primarily played soulful renditions of hard bop and Cannonball really excelled in the straight-ahead settings. During 1962-1963, Yusef Lateef made the group a sextet and pianist Joe Zawinul was an important new member. The collapse of Riverside resulted in Adderley signing with Capitol and his recordings became gradually more commercial. Charles Lloyd was in Lateef's place for a year (with less success) and then with his departure the group went back to being a quintet. Zawinul's 1966 composition "Mercy, Mercy, Mercy" was a huge hit for the group, Adderley started doubling on soprano, and the quintet's later recordings emphasized long melody statements, funky rhythms, and electronics. However, during his last year, Cannonball Adderley was revisiting the past a bit and on Phenix he recorded new versions of many of his earlier numbers. But before he could evolve his music any further, Cannonball Adderley died suddenly from a stroke. Cannonball Adderley Collection, Vol. 3: Jazz Workshop Revisited Artist Cannonball Adderley Album Title Cannonball Adderley Collection, Vol. 3: Jazz Workshop Revisited Date of Release Sep 22, 1962 - Sep 23, 1962 (recording) AMG Rating 4 *Genre Jazz Type live Time 50:00 Three years after having a surprise hit ("This Here") recorded live at The Jazz Workshop in San Francisco, Cannonball Adderley and his sextet (featuring cornetist Nat Adderley and Yusef Latef on tenor, flute and oboe) returned to the club and recorded this particularly rewarding LP, reissued by Orrin Keepnews on his Landmark label. The material was challenging but hard-swinging, including "Primitivo," "Jessica's Days," "Mellow Buno" and Nat Adderley's new composition "The Jive Samba." A previously unknown version of the classic "Unit 7" was substituted for the Sam Jones ballad "Lillie" with this issue. Every recording by this particular unit is well worth acquiring. — Scott Yanow 1. Introduction 2. Primitivo (Adderley) 3. The Jive Samba (Adderley) 4. Lillie (Jones)

5. Jessica's Birthday (Jones) 6. Marney (Byrd) 7. Mellow Bruno (Lateef)

The Best of Cannonball Adderley: The Capitol Years Artist Cannonball Adderley Album Title Best of Cannonball Adderley: The Capitol Years Date of Release Aug 5, 1962 - Oct 1969 (recording) AMG Rating 4 *Genre Jazz Type compilation Time 50:55 Thanks to its ownership of some of Cannonball's Riverside recordings, Capitol was able to stretch the definition of The Capitol Years a bit in this hits collection. Beginning with a pair of live Riverside tracks from Cannon's short-lived sextet with Yusef Lateef ("Work Song," "Jive Samba"), the CD enters the Capitol years proper with the surprisingly effective treatment of "Fiddler On the Roof" ("Tradition"), continues with three hits centered around Joe Zawinul's soul/gospel electric piano ("Mercy Mercy Mercy," "Why Am I Treated So Bad?," and "Walk Tall"), the tension-wracked "74 Miles Away," and the relaxed "Country Preacher." There are missing ingredients — the orchestral recordings, the excursions into electric music in the early 1970s. Yet from the evidence of this strong lineup — almost all of it recorded live, often prefaced by Cannon's ingratiating spoken intros — it would be very hard to argue (as some have) that Cannonball's Capitol period was one long commercial sellout. — Richard S. Ginell 1. Work Song (Adderley/Brown) - 8:30 2. Jive Samba (Adderley) - 10:59 3. Fiddler on the Roof (Bock/Harnick) - 7:20 4. Mercy, Mercy, Mercy (Zawinul) - 5:08 (future Naweedna selection) 5. Why (Am I Treated So Bad) (Staples) - 7:41 6. Walk Tall (Marrow/Rein/Zawinul) - 2:38 7. 74 Miles Away (Zawinul) - 13:47 8. Country Preacher (Zawinul) - 4:35

B8 Jubilee - Taj MahalMule Bone

I found this one in Milne Library – in the children’s section. It seemed a little odd that a Taj Mahal CD should be in the children’s section, but there it was nonetheless. It is pretty much standard Taj stuff, so I guess someone was confused by the title maybe. I suppose it had to do with being from a Broadway play, which I learned from the BMG info below. Whatever, I really like this start-and-stop piece. Hope it works for you.

One of the most prominent figures in late 20th century blues, singer/multi-instrumentalist Taj Mahal played an enormous role in revitalizing and preserving traditional acoustic blues. Not content to stay within that realm, Mahal soon broadened his approach, taking a musicologist's interest in a multitude of folk and roots music from around the world — reggae and other Caribbean folk, jazz, gospel, R&B, zydeco, various West African styles, Latin, even Hawaiian. The African-derived heritage of most of those forms allowed Mahal to explore his own ethnicity from a global perspective and to present the blues as part of a wider musical context. Yet while he dabbled in many different genres, he never strayed too far from his laid-back country blues foundation. Blues purists naturally didn't have much use for Mahal's music and according to some of his other detractors, his multi-ethnic fusions sometimes came off as indulgent, or overly self-conscious and academic. Still, Mahal's concept seemed somewhat vindicated in the '90s, when a cadre of young bluesmen began to follow his lead — both acoustic revivalists (Keb' Mo', Guy Davis) and eclectic bohemians (Corey Harris, Alvin Youngblood Hart).Taj Mahal was born Henry St. Clair Fredericks in New York on May 17, 1942. His parents — his father a jazz pianist/composer/arranger of Jamaican descent, his mother a schoolteacher from South Carolina who sang gospel — moved to Springfield, MA, when he was quite young and while growing up there, he often listened to music from around the world on his father's short-wave radio. He particularly loved the blues — both acoustic and electric — and early rock & rollers like Chuck Berry and Bo Diddley. While studying agriculture and animal husbandry at the University of Massachusetts, he adopted the musical alias Taj Mahal (an idea that came to him in a dream) and formed Taj Mahal & the Elektras, which played around the area during the early '60s. After graduating, Mahal moved to Los Angeles in 1964 and, after making his name on the local folk-blues scene, formed the Rising Sons with guitarist Ry Cooder. The group signed to Columbia and released one single, but the label didn't quite know what to make of their forward-looking blend of Americana, which anticipated a number of roots rock fusions that would take shape in the next few years; as such, the album they recorded sat on the shelves, unreleased until 1992.

Frustrated, Mahal left the group and wound up staying with Columbia as a solo artist. His self-titled debut was released in early 1968 and its stripped-down approach to vintage blues sounds made it unlike virtually anything else on the blues scene at the time. It came to be regarded as a classic of the '60s blues revival, as did its follow-up, Natch'l Blues. The half-electric, half-acoustic double-LP set Giant Step followed in 1969 and taken together, those three records built Mahal's reputation as an authentic yet unique modern-day bluesman, gaining

wide exposure and leading to collaborations or tours with a wide variety of prominent rockers and bluesmen. During the early '70s, Mahal's musical adventurousness began to take hold; 1971's Happy Just to Be Like I Am heralded his fascination with Caribbean rhythms and the following year's double-live set, The Real Thing, added a New Orleans-flavored tuba section to several tunes. In 1973, Mahal branched out into movie soundtrack work with his compositions for Sounder and the following year he recorded his most reggae-heavy outing, Mo' Roots.

Mahal continued to record for Columbia through 1976, upon which point he switched to Warner Bros.; he recorded three albums for that label, all in 1977 (including a soundtrack for the film Brothers). Changing musical climates, however, were decreasing interest in Mahal's work and he spent much of the '80s off record, eventually moving to Hawaii to immerse himself in another musical tradition. Mahal returned in 1987 with Taj, an album issued by Gramavision that explored this new interest; the following year, he inaugurated a string of successful, well-received children's albums with Shake Sugaree. The next few years brought a variety of side projects, including a musical score for the lost Langston Hughes/Zora Neale Hurston play Mule Bone that earned Mahal a Grammy nomination in 1991. The same year marked Mahal's full-fledged return to regular recording and touring, kicked off with the first of a series of well-received albums on the Private Music label, Like Never Before. Follow-ups, such as Dancing the Blues (1993) and Phantom Blues (1996), drifted into more rock, pop, and R&B-flavored territory; in 1997, Mahal won a Grammy for Señor Blues. Meanwhile, he undertook a number of small-label side projects that constituted some of his most ambitious forays into world music. 1995's Mumtaz Mahal teamed him with classical Indian musicians; 1998's Sacred Island was recorded with his new Hula Blues Band, exploring Hawaiian music in greater depth; 1999's Kulanjan was a duo performance with Malian kora player Toumani Diabate.

Mule Bone Artist Taj Mahal Album Title Mule Bone Date of Release Nov 1, 1991 (release) AMG Rating 3 *Genre Blues Time 33:18 Taj Mahal won a Grammy nomination with this music from the Broadway production of the Hurston/Hughes play. — Mark A. Humphrey 1. Jubilee [Opening Theme] (Mahal) - 2:11 2. Graveyard Mule (Bass/Mahal) - 2:33 3. Me and the Mule (Hughes/Mahal) - 2:04 4. Song for a Banjo Dance (Hughes/Mahal) - 2:08 5. But I Rode Some (Hughes/Mahal) - 2:27 6. Hey Hey Blues (Hughes/Mahal) - 3:58 7. Shake That Thing (Jackson) - 3:20 8. The Intermission Blues (Mahal) - 3:33 9. Crossing (Lonely Day) (Hughes/Mahal) - 2:35 10. Bound No'th Blues (Hughes/Mahal) - 4:39 11. Finale (Mahal) - 4:10

B9 Last Chance - Hotmud FamilyTill We Meet Again Or Above (1974)

These people are from Spring Valley OH, which is very near Waynesville where my father grew up. When he looked at the picture on the album cover, he said, “Hey, that’s the hill we used to sled down.” Hello Stranger used to be the opening song on PHC. This and the Hank Snow version lead off Naweedna 2001 and 2003A, respectively.

This excellent young old-time string band from Ohio specialized in tight vocals and a diverse repertoire. — Charles S. Wolfe

Dave EdmundsonSuzanne EdmudsonRich Good

1 Going That Way2 Hawkins Rag3 Hello Stranger (on Naweedna 2001)4 John Lover's Gone5 Last Chance6 Louisianna Farm7 My Wandering Boy8 Old Songs9Over The Mountain10 Polly Put The Kettle On

11 Rich And Ramblin Boy12 Rocky Island13 Shuffle Creek14 Walkin In Jerusalem15 Blue Railroad Train16 Carbolic Rag

B10 Like A Monkey Likes Cocoanuts - Hoosier Hot ShotsDownload

Yet another Hoosier Hot Shots selection. Okay, I promise to lay off the Hot Shots for a year or two, but they will be back. Have you heard their version of Sweet Sue? Oh, if you aren’t familiar with them, you should read the life story below. Then you can go to their web site. Just Google Hoosier Hot Shots. Thanks, Bob.

In the 1930s, at the height of the Depression, rural Americans desperate for a laugh tuned in their radios to enjoy the cornball musical antics of the Hoosier Hot Shots. Their odd-sounding blend of a slide whistle and clarinet as the two lead instruments, the solid rhythm of the washboard, and their bizarre song lyrics made them the top novelty act of their day and the true precursor to the latter-day success of Spike Jones & His City Slickers. In the passage of some 50 to 60 years since their heyday and in the current climate of digital samplers, it becomes hard to imagine just how weird this four-piece combo sounded to the average listener. As clarinetist bandleader Gabe Ward put it, "People started to laugh as soon as we started playing. We had a funny sound with the whistle and the clarinet. The way Hezzie played it, it was funny." The Hezzie that Ward refers to was one Paul "Hezzie" Trietsch, the washboard-playing, slide whistle-blowing heart of the group. Ward had met him and his older brother Ken in their teenage years. All three had music in their blood and by the late '20s, they were playing together in an outfit called Ezra Buzzington's Rube Band. Buzzington's outfit worked the vaudeville circuit, its main claim to fame being its huge assortment of freak musical instruments. It was here that the trio stared honing their chops, with Ken becoming equally adept on guitar and banjo, Ward's clarinet style veering from swing to sweet to silly, and Hezzie coming into his own playing washboard, slide whistle, and a wild assortment of whistles, bells, and horns.

They stayed with Buzzington until he disbanded the group in 1929, the three vowing to stay in touch, and playing together in various on and off situations. In 1932, the Trietsch Brothers and Ward — their stage moniker at the time — were broadcasting over WOWO in Fort Wayne, IN. Doing a charity broadcast to help Ohio River Valley flood victims, they quickly found and developed their style doing novelty renditions of good-time songs, playing one after another during the course of the radio-thon. They picked up a 15-minute sustaining program on the station for no pay but with the chance to promote their own live appearances over the airwaves. They soon came to even wider prominence via their radio appearances on the National Barn Dance, broadcast over powerful station WLS in Chicago. The show was the first of its type to be broadcast and reach a wide audience, predating the subsequent success of Nashville's Grand Ole Opry and counting a young Gene Autry, Lulubelle & Scotty, and Red Foley among its many stars.

The show became a radio staple, broadcasting every Saturday night across the country for over 35 years. The trio — under their new name, the Hoosier Hot Shots — were an immediate hit, considering it an honor to be hooked up with the most prestigious show in country music. But the group just as quickly moved over to a regular guest spot on the Uncle Ezra Pinex Cough Syrup program, and when Uncle Ezra secured a national spot with NBC, he took the Hot Shots with him, and the group's national success was quickly assured.

They started making records around this time, and the Hot Shots couldn't have asked for a more sympathetic producer on their sessions than Art Satherly. Satherly, a distinguished Englishman, was in charge of Columbia Records' (at that time ARC) country and blues A&R division. As Gabe Ward put it, "What Art Satherly wanted on record was out visualness; he was trying to get that through. And he succeeded with us, because we were about the only people who could make people laugh after only four bars of music!" Satherly, for his part, would strip down to his shirt, put a bath towel around his neck, and go into the studio and dance to illustrate the tempo he wanted the Hot Shots to record at. The formula — with Gabe calling out, "Are you ready, Hezzie?" at the start of each tune — was a wildly successful one, with the band's records fitting comfortably on jukeboxes around the country in the "novelty dance" category. Among their hits were "I Like Bananas Because They Have No Bones," "The Coat and Pants Do All the Work," and "From the Indies to the Andies in His Undies," exactly the type of tunes that fitted the group like a glove. "We were tops in the novelty field," Ward would later reminisce, "all because of Art Satherly. He had the nerve to put them on the jukeboxes, even though they weren't always the top tunes. We'd do it for Art Satherly, with a beat for the jukeboxes." What Ward also fails to mention, however, is the group's tireless promotion of those records, making in-store appearances at all the Sears and Roebuck outlets nationwide when their 78s started appearing on the company's budget label, Perfect.

By the late '30s the Hot Shots started making movie appearances, debuting with a turn in In Old Monterey in 1939. The success of this and a couple others led the group to give up their sustaining radio spot with Uncle Ezra, relocating to the West Coast after World War II. Signing a movie deal with Columbia Pictures, the Hot Shots would go on to appear in 22 films into the early '50s. With the advent of changing tastes and the rise of television, the boys' star fell into eclipse somewhat, although they found steady work on the Nevada gambling casino circuit. The group soldiered on into the '70s, when Paul "Hezzie" Trietsch's death broke up the original

group. Although nowhere near as wild as Spike Jones, nor possessing the "thinking man's hillbillies" personas of Homer & Jethro, it is impossible to think of either of those two acts existing — much less prospering and finding an audience — without the groundbreaking efforts of the Hoosier Hot Shots.

Everybody Stomp Artist Hoosier Hot Shots Album Title Everybody Stomp Date of Release Aug 19, 2003 Genre Comedy Type compilation, box

1. Hoosier Stomp - 2:51 2. Whistlin' Joe from Kokomo - 3:02 3. Farmer Gray - 3:11 4. Oakville Twister (Kettering/Trietsch) - 2:58 5. I'm Looking for a Girl - 2:53 6. Black Eyed Susan Brown - 2:53 7. Down in the Valley (Johnson/Kettering/Trietsch/Trietsch/Ward) - 3:02 8. Ha-Cha-Na (Forest/Kettering) - 2:43 9. Meet Me by the Ice House Lizzie - 2:58 10. Back in Indiana (Trietsch) - 3:06 11. San (Lindsay/McPhail/Michels) - 3:22 12. Everybody Stomp (Meyers/Schoebel) - 2:58 13. Bow-Wow Blues (Friend/Osborne) - 3:19 14. I Like Bananas Because They Have No Bones (Yacich) - 3:23 15. Ida (Sweet as Apple Cider) (Leonard) - 3:01 16. They Go Simply Wild Over Me - 3:05 17. Wah-Hoo - 3:02 18. At the Darktown Strutter's Ball (Brooks) - 3:00 19. I Like Mountain Music (Kavanaugh/Weldon) - 3:00 20. You're Driving Me Crazy (Donaldson) - 2:55 21. Hold 'Er Ebner (Kettering/Trietsch/Trietsch/Ward) - 3:09 22. Bye Bye Blues (Bennett/Gray/Hamm/Lown) - 2:41 23. I'll Soon Be Rolling Home (Schafer/Triesch) - 2:53 24. Take Me Out to the Ball Game (Norworth/Von Pilzer) - 2:46 25. Ain't She Sweet (Ager/Yellen) - 2:43 26. I Wish I Could Shimmy Like My Sister Kate (Piron) - 2:47 27. It Ain't Nobody's Biz'ness What I Do (Grainger/Prince/Williams) - 3:13 28. Margie (Conrad/Davis/Robinson) - 3:03 29. Hot Lips (Busse/Davis/Lange) - 2:49 30. Shake Your Dogs (Kettering/Trietsch) - 2:57 31. Sweet Sue Just You (Harris/Young) - 2:48 32. Toot Toot Tootsie (Erdman/Fiorito/Kahn/Russo) - 2:47 33. Pick That Bass (Bernard) - 3:04 34. The Coat and the Pants Do All the Work - 3:07 35. I Want a Girl (Dillon/VonTilzer) - 3:04 36. I've Got a Bimbo Down on the Bamboo Isle - 3:12 37. When You Wore a Tulip (Mahoney/Wenrich) - 2:42 38. Farewell Blues (Mares/Schoebel) - 2:27 39. Down Home Rag - 2:48 40. Meet Me in the Cow Shed - 2:32 41. Oh by Jingo (Brown/VonTilzer) - 2:53 42. You Said Something When You Said Dixie - 2:34 43. The Flat Foot Floogie (Gaillard/Green/Stewart) - 2:43 44. The Girl Friend of the Whirlin' Dervish - 2:42 45. Skeede-Waddle-Dee-Waddle-Do - 2:42 46. How Ya Gonna Keep 'Em Down on the Farm - 2:42 47. Red Hot Fannie - 2:39 48. Swinging With Dora - 2:41 49. The Shiek of Araby (Smith/Snyder/Wheeler) - 2:34 50. Wabash Blues (Meinken/Rinle) - 2:33 51. Like a Monkey Likes Cocoanuts - 2:42 52. From the Indies to the Andies in His... - 2:46 53. Look on the Bright Side (Brown/McFaddin) - 2:41 54. Willie Willie Will Ya - 2:44 55. Are You Havin' Any Fun (Fain/Yellen) - 2:33 56. Put on Your Old Red Flannels - 2:36 57. Sam the College Leader Man (Donaldson) - 2:41 58. The Pants My Pappy Gave to Me - 2:51 59. He'd Have to Get Under Get Out and Get... - 2:53

60. In an Old Dutch Garden (By an Old Dutch... (Gordon/Grosz) - 2:46 61. Connie's Got Connections in Connecticut - 2:41 62. Shirley (Barris/Cavanaugh/Johnson) - 2:57 63. Big Noise from Kokomo - 2:52 64. Ma She's Making Eyes at Me (Clare/Conrad) - 2:48 65. Swanee (Caesar/Gershwin) - 2:50 66. Moving Day in Jungle Town - 2:36 67. It's a Lonely Trail (De Leath/Kenny/Kenny) - 2:42 68. Avalon (De Sylva/Jolson/Rose) - 2:48 69. Who's Sorry Now (Westphal) - 2:44 70. No No Nora (Erdman/Fio Rito) - 2:41 71. O-Hi-O (Olman/Yellen) - 2:51 72. Diga Diga Do (Fields/McHugh) - 2:54 73. The Kitten With the Big Green Eyes - 2:40 74. Everybody Loves My Baby (Dalmer/Williams) - 2:41 75. The Guy Who Stole My Wife - 2:50 76. Way Down in Arkansas (Fain) - 2:56 77. That's Where I Meet My Girl - 2:48 78. I Just Wanna Play With You (Joseph/Mack) - 2:58 79. When There's a Tear in the Eyes of a... (van Ness/Yacich/Yacich) - 2:56 80. Beatrix Fairfax Tell Me What to Do - 2:39 81. St Louis Blues (Handy) - 2:41 82. Keep an Eye on You Heart - 2:59 83. With a Twist of the Wrist - 2:44 84. Swing Little Indians Swing - 2:46 85. Dude Cowboy - 2:57 86. The Band Played On (Pelfrey/Rhodes) - 2:54 87. Since We Put the Radio in the Henhouse - 2:52 88. He's a Hillbilly Gaucho - 2:50 89. When Lightnin' Struck the Coon Creek Party - 2:45 90. She Broke My Heart in Three Places (Drake/Hoffman/Livingston) - 2:49 91. She Was a Washout in the Blackout (Bond) - 2:53 92. The Musket Came Down from the Door - 3:04 93. Them Hill-Billies Are Mountain Williams... (Kavanaugh/Mysels/Sanford) - 3:01 94. Sentimental Gentleman from Georgia (Parish/Perkins) - 2:23 95. Is It True What They Say About Dixie (Carson/Lerner/Marks) - 2:41 96. Sioux City Sue (Freedman/Thomas) - 2:52 97. When Johnny Brings Lelahani Home - 2:30 98. You Tow Timed Me Once Too Often (Carson) - 2:54 99. There's a Tear in My Beer Tonight (Williams) - 3:04 100. Divorce Me C.O.D. (Stone/Travis) - 2:38

B11 Night Wind - Fats WallerBreakin' the Ice (1934-35)

Great jazz and good humor, that’s Fats. This is one of his more serious pieces. I like its flow.

Not only was Fats Waller one of the greatest pianists jazz has ever known, he was also one of its most exuberantly funny entertainers — and as so often happens, one facet tends to obscure the other. His extraordinarily light and flexible touch belied his ample physical girth; he could swing as hard as any pianist alive or dead in his classic James P. Johnson-derived stride manner, with a powerful left hand delivering the octaves and tenths in a tireless, rapid, seamless stream. Waller also pioneered the use of the pipe organ and Hammond organ in jazz — he called the pipe organ the "God box" — adapting his irresistible sense of swing to the pedals and a staccato right hand while making imaginative changes of the registration. As a composer and improviser, his melodic invention rarely flagged, and he contributed fistfuls of joyous yet paradoxically winsome songs like "Honeysuckle Rose," "Ain't Misbehavin,'" "Keepin' Out of Mischief Now," "Blue Turning Grey Over You" and the extraordinary "Jitterbug Waltz" to the jazz repertoire.

During his lifetime and afterwards, though, Fats Waller was best known to the world for his outsized comic personality and sly vocals, where he would send up trashy tunes that Victor Records made him record with his nifty combo, Fats Waller and his Rhythm. Yet on virtually any of his records, whether the song is an evergreen standard or the most trite bit of doggerel that a Tin Pan Alley hack could serve up, you will hear a winning combination of good knockabout humor, foot-tapping rhythm and fantastic piano playing. Today, almost all of Fats Waller's studio recordings can be found on RCA's on-again-off-again series The Complete Fats Waller, which commenced on LPs in 1975 and was still in progress during the 1990s.

Thomas "Fats" Waller came from a Harlem household where his father was a Baptist lay preacher and his mother played piano and organ. Waller took up the piano at age six, playing in a school orchestra led by Edgar Sampson (of Chick Webb fame). After his mother died when he was 14, Waller moved into the home of pianist Russell Brooks, where he met and studied with James P. Johnson. Later, Waller also received classical lessons

from Carl Bohm and the famous pianist Leopold Godowsky. After making his first record at age 18 for Okeh in 1922, "Birmingham Blues"/'Muscle Shoals Blues," he backed various blues singers and worked as house pianist and organist at rent parties and in movie theatres and clubs. He began to attract attention as a composer during the early and mid-1920s, forming a most fruitful alliance with lyricist Andy Razaf that resulted in three Broadway shows in the late '20s, Keep Shufflin', Load of Coal, and Hot Chocolates.

Waller started making records for Victor in 1926; his most significant early records for that label were a series of brilliant 1929 solo piano sides of his own compositions like "Handful of Keys" and "Smashing Thirds." After finally signing an exclusive Victor contract in 1934, he began the long-running, prolific series of records with his Rhythm, which won him great fame and produced several hits, including "Your Feet's Too Big," "The Joint Is Jumpin'" and "I'm Gonna Sit Right Down and Write Myself a Letter." He began to appear in films like Hooray for Love and King of Burlesque in 1935 while continuing regular appearances on radio that dated back to 1923. He toured Europe in 1938, made organ recordings in London for HMV and appeared on one of the first television broadcasts. He returned to London the following spring to record his most extensive composition, London Suite for piano and percussion, and embark on an extensive continental tour (which, alas, was cancelled by fears of impending war with Germany). Well aware of the popularity of big bands in the '30s, Waller tried to form his own, but they were short-lived.

Into the 1940s, Waller's touring schedule of the U.S. escalated, he contributed music to another musical, Early to Bed, the film appearances kept coming (including a memorable stretch of Stormy Weather where he led an all-star band that included Benny Carter, Slam Stewart and Zutty Singleton), the recordings continued to flow, and he continued to eat and drink in extremely heavy quantities. Years of draining alimony squabbles, plus overindulgence and, no doubt, frustration over not being taken more seriously as an artist, began to wear the pianist down. Finally, after becoming ill during a gig at the Zanzibar Room in Hollywood in Dec. 1943, Waller boarded the Santa Fe Chief train for the long trip back to New York. He never made it, dying of pneumonia aboard the train during a stop at Union Station in Kansas City.

While every clown longs to play Hamlet as per the cliche — and Waller did have so-called serious musical pretensions, longing to follow in George Gershwin's footsteps and compose concert music — it probably was not in the cards anyway due to the racial barriers of the first half of the 20th century. Besides, given the fact that Waller influenced a long line of pianists of and after his time, including Count Basie (who studied with Fats), Teddy Wilson, Art Tatum, Thelonious Monk, Dave Brubeck and countless others, his impact has been truly profound.

Breakin' the Ice: The Early Years, Part 1 Artist Fats Waller Album Title Breakin' the Ice: The Early Years, Part 1 Date of Release May 16, 1934 - May 6, 1935 AMG Rating 4.5 *Genre Jazz Type compilation AMG REVIEW: This two-CD set has the first 42 recordings of Fats Waller with his Rhythm. The brilliant stride pianist/vocalist/ composer/personality became very popular due to these 1934-35 recordings which feature either Herman Autrey or Bill Coleman on trumpet, Gene Sedric, Ben Whitted, Mezz Mezzrow or Rudy Powell on reeds, guitarist Al Casey and a rhythm section. All of Waller's Victor recordings have been reissued on CD and this two-fer (which includes such memorable numbers as "A Porter's Love Song to a Chambermaid," "Serenade for a Wealthy Widow," "How Can You Face Me," "Honeysuckle Rose," "Believe It, Beloved," "I Ain't Got Nobody," "Oh Suzannah Dust Off That Old Pianna" and "You've Been Taking Lessons in Love") is a perfect place to start. — Scott Yanow 1. Baby Brown (Hill) 2. A Porter's Love Song to a Chambermaid (Johnson/Razaf) 3. I Wish I Were Twins 4. Baby Brown [instrumental] (Hill) 5. Night Wind 6. Armful O' Sweetness (Hill) 7. Do Me a Favor (Lawrence/Tinturin) 8. Because of Once upon a Time (Maltin/Stride) 9. Georgia May (Denniker/Razaf) 10. I Believe in Miracles (Lewis/Meyer/Wendling) 11. You Fit into the Picture (Green/Greer) 12. Then I'll Be Tired of You 13. Lousiana Fairy Tale 14. Don't Let It Bother You (Gordon/Revel) 15. Have a Little Dream on Me (Baxter/Murray/Rose) 16. I Ain't Got Nobody (And Nobody Cares for... (Graham/Peyton/Williams) 17. Serenade for a Wealthy Widow (Fields/Foresythe/McHugh)

B12 No Count Blues - Sarah Vaughan & Count Basie

No Count Sarah (1958)

I bought this vinyl when I was an undergrad at OSU. I had no idea the “No Count” part referred to Count Basie. Obviously I never looked at the album cover because it says right there “with the Count Basie Orchestra.” Anyway, it is a grand album and I particularly like the mumblin’ scat Sassy does on this track. All of the other tracks are top notch, and I expect they will gradually work their way into future compilations.

Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughan's legacy as a performer and a recording artist will be very difficult to match in the future.

Vaughan sang in church as a child and had extensive piano lessons from 1931-39; she developed into a capable keyboardist. After she won an amateur contest at the Apollo Theatre, she was hired for the Earl Hines big band as a singer and second vocalist. Unfortunately, the musicians' recording strike kept her off record during this period (1943-44). When lifelong friend Billy Eckstine broke away to form his own orchestra, Vaughan joined him, making her recording debut. She loved being with Eckstine's orchestra, where she became influenced by a couple of his sidemen, Charlie Parker and Dizzy Gillespie, both of whom had also been with Hines during her stint. Vaughan was one of the first singers to fully incorporate bop phrasing in her singing, and to have the vocal chops to pull it off on the level of a Parker and Gillespie.

Other than a few months with John Kirby from 1945-46, Sarah Vaughan spent the remainder of her career as a solo star. Although she looked a bit awkward in 1945 (her first husband George Treadwell would greatly assist her with her appearance), there was no denying her incredible voice. She made several early sessions for Continental: a Dec. 31, 1944 date highlighted by her vocal version of "A Night In Tunisia," which was called "Interlude," and a May 25, 1945 session for that label that had Gillespie and Parker as sidemen. However, it was her 1946-48 selections for Musicraft (which included "If You Could See Me Now," "Tenderly" and "It's Magic") that found her rapidly gaining maturity and adding bop-oriented phrasing to popular songs. Signed to Columbia where she recorded during 1949-53, "Sassy" continued to build on her popularity. Although some of those sessions were quite commercial, eight classic selections cut with Jimmy Jones' band during May 18-19, 1950 (an octet including Miles Davis) showed that she could sing jazz with the best.

During the 1950s, Vaughan recorded middle-of-the-road pop material with orchestras for Mercury, and jazz dates (including a memorable collaboration with Clifford Brown) for the label's subsidiary, EmArcy. Later record label associations included Roulette (1960-64), back with Mercury (1963-67), and after a surprising four years off records, Mainstream (1971-74). Through the years, Vaughan's voice deepened a bit, but never lost its power, flexibility or range. She was a masterful scat singer and was able to outswing nearly everyone (except for Ella). Vaughan was with Norman Granz's Pablo label from 1977-82, and only during her last few years did her recording career falter a bit, with only two forgettable efforts after 1982. However, up until near the end, Vaughan remained a world traveler, singing and partying to all hours of the night with her miraculous voice staying in prime form. The majority of her recordings are currently available, including complete sets of the Mercury/Emarcy years, and Sarah Vaughan is as famous today as she was during her most active years.

No Count Sarah Artist Sarah Vaughan Album Title No Count Sarah Date of Release Dec 1958 (release) AMG Rating 4.5 *Genre Vocal Time 35:26 Sarah Vaughan recorded in a variety of settings while with Mercury and EmArcy in the 1950s but this particular matchup with the Count Basie Orchestra (pianist Ronnell Bright substitutes for Count, thus the title) is pure jazz. During the classic encounter, Sassy fits in comfortably with the band, whether singing lyrics (such as "Darn That Dream," "Cheek to Cheek" or "Doodlin'") or scatting sensuously on "No Count Blues." The wit and constant swing (in addition to the spontaneous creativity), makes this one of the best of all Sarah Vaughan recordings. Highly recommended, either on this CD or as part of the six-CD set The Complete Sarah Vaughan on Mercury, Vol. 3. — Scott Yanow 1. Smoke Gets in Your Eyes (Harbach/Kern) - 3:58 2. Doodlin' (Silver) - 4:34 3. Darn That Dream (DeLange/VanHeusen) - 3:43 4. Just One of Those Things (Porter) - 2:31 5. Moonlight in Vermont (Blackburn/Blackburn/Suessdorf) - 3:19 6. No 'Count Blues (Jones/Vaughan) - 5:27 7. Cheek to Cheek (Berlin) - 5:09 8. Stardust (Carmichael/Parish) - 3:17 9. Missing You (Bright) - 3:28

B13 Poinciana - Ahmad JamalAt The Pershing (1958)

I like Ahmad. His early stuff is better than more recent offerings I’ve heard. If you can only have one Jamal, The Pershing album is the one to have. Some of those tracks have been re-mastered on a CD called What’s New. Those two albums plus a collection called Ahmad’s Blues pretty much covers his best work.

One of the few pianists in the 1950s who did not sound like a close copy of Bud Powell, Ahmad Jamal's use of space, ability to gradually increase or decrease the volume with his trio, and brilliant use of tension and release were quite original. He greatly impressed Miles Davis (who borrowed from his repertoire and insisted that Red Garland try to sound like him), and Jamal also cut some very popular records without altering his style.

Jamal began playing professionally in Pittsburgh when he was 11. In the late '40s, he joined George Hudson's orchestra. In 1951, he formed his first trio, the Three Strings, a group with guitarist Ray Crawford and bassist Eddie Calhoun. Israel Crosby took Calhoun's place in 1955. One of Jamal's recordings from that year was a version of "Pavanne" that at one point states the melody from John Coltrane's "Impressions," five years before 'Trane "wrote" the song, amazingly. In 1956, Jamal switched to a piano-bass-drums trio with Walter Perkins replacing Crawford. With Vernell Fournier on drums by 1958, Jamal recorded his most popular album, Ahmad Jamal at the Pershing, and his version of "Poinciana" is still famous. The trio broke up in 1962, but Jamal continued growing as a pianist (sometimes doubling on electric piano in the 1970s), and he remains one of the most distinctive (and indirectly influential) pianists in jazz. Ahmad Jamal recorded through the years for Epic, Argo/Cadet, Impulse, Catalyst, 20th Century, Atlantic, and Telarc. - Scott Yanow

Ahmad Jamal - At the Pershing: But Not for Me

Artist Ahmad Jamal Album Title At the Pershing: But Not for Me Date of Release Jan 16, 1958 inprint AMG Rating 5 *Genre Jazz Time 31:32 AMG EXPERT REVIEW: Recorded at Pershing Club, Chicago, IL. A two-fer. Third album (includes hit "Poinciana") was the turning point in his career. His liberal use of silence influenced many jazz musicians, including Miles Davis. - Michael Erlewine 1. But Not for Me (Gershwin/Gershwin) - 3:31 2. The Surrey With the Fringe on Top (Hammerstein/Rodgers) - 2:35 (on Naweedna 2001) 3. Moonlight in Vermont (Blackburn/Suessdorf) - 3:09 4. Music! Music! Music! (Put Another Nickel... (Baum/Weiss) - 2:56 5. No Greater Love (Jones/Symes) - 3:26 6. Poinciana (Bernier/Simon) - 8:07 7. Woody 'N You (Gillespie) - 3:40 8. What's New? (Burke/Haggart) - 4:08

Ahmad Jamal - Piano Israel Crosby - Bass Vernell Fornier - Drums Vernell Fournier - Drums

B14 See You In Hell Blind Boy - Ry CooderCrossroads (1986)

Every time I hear this, I have to look to see who it is. Obviously, it isn’t typical Cooder, but it is good nonetheless.

Whether serving as a session musician, solo artist, or soundtrack composer, Ry Cooder's chameleon-like fretted instrument virtuosity, songwriting, and choices of material encompass an incredibly eclectic range of North American musical styles, including rock & roll, blues, reggae, Tex-Mex, Hawaiian, Dixieland jazz, country, folk, R&B, gospel, and vaudeville. The 16-year-old Cooder began his career in 1963 in a blues band with Jackie DeShannon and then formed the short-lived Rising Sons in 1965 with Taj Mahal and Spirit drummer Ed Cassidy. Cooder met producer Terry Melcher through the Rising Sons and was invited to perform at several sessions with Paul Revere and the Raiders. During his subsequent career as a session musician, Cooder's trademark slide guitar work graced the recordings of such artists as Captain Beefheart (Safe As Milk), Randy Newman, Little Feat, Van Dyke Parks, the Rolling Stones (Let It Bleed, Sticky Fingers), Taj Mahal, and Gordon Lightfoot. He also appeared on the soundtracks of Candy and Performance.

Cooder made his debut as a solo artist in 1970 with a self-titled album featuring songs by Leadbelly, Blind Willie Johnson, Sleepy John Estes, and Woody Guthrie. The follow-up, Into the Purple Valley, introduced longtime

cohorts Jim Keltner on drums and Jim Dickinson on bass, and it and Boomer's Story largely repeated and refined the syncopated style and mood of the first. In 1974, Cooder produced what is generally regarded as his best album, Paradise and Lunch, and its follow-up, Chicken Skin Music, showcased a potent blend of Tex-Mex, Hawaiian, gospel, and soul music, and featured contributions from Flaco Jimenez and Gabby Pahinui. In 1979, Bop Till You Drop was the first major-label album to be recorded digitally. In the early '80s, Cooder began to augment his solo output with soundtrack work on such films as Blue Collar, The Long Riders, and The Border; he has gone on to compose music for Southern Comfort, Goin' South, Paris, Texas, Streets of Fire, Alamo Bay, Blue City, Crossroads, Cocktail, Johnny Handsome, Steel Magnolias, and Geronimo. Music by Ry Cooder (1995) compiled two discs' worth of highlights from Cooder's film work.

In 1992, Cooder joined Keltner, John Hiatt, and renowned British tunesmith Nick Lowe, all of whom had played on Hiatt's Bring the Family, to form Little Village, which toured and recorded one album. Cooder next turned his attention to world music, recording the album A Meeting by the River with Indian musician V.M. Bhatt. Cooder's next project, a duet album with renowned African guitarist Ali Farka Toure titled Talking Timbuktu, won the 1994 Grammy for Best World Music Recording.

Crossroads Artist Ry Cooder Album Title Crossroads Date of Release 1986 (release) AMG Rating 3 *Genre Rock Type soundtrack Time 37:47 The ersatz blues story of the film gives Ry Cooder leeway to turn in an impressive blues-derived soundtrack featuring Sonny Terry along with his usual collaborators Van Dyke Parks, Jim Keltner, Nathan East, and others. But it's Cooder's guitar playing that highlights the album. — William Ruhlmann 1. Crossroads (Johnson) - 4:24 2. Down in Mississippi (Lenoir) - 4:25 3. Cotton Needs Pickin' (Frost/Holmes/Price/Taylor) - 2:58 4. Viola Lee Blues (Lewis) - 3:11 5. See You in Hell, Blind Boy (Cooder) - 2:10 6. Nitty Gritty Mississippi (Burch/Hill) - 2:57 7. He Made a Woman Out of Me (Burch/Hill) - 4:12 8. Feelin' Bad Blues (Cooder) - 4:16 9. Somebody's Callin' My Name (Traditional) - 1:45 10. Willie Brown Blues (Cooder/Seneca) - 3:45 11. Walkin' Away Blues (Cooder/Terry) - 3:37

B15 Some Velvet Morning - Gabor SzaboBacchanal (1968)

I don’t care what you say, I like Gabor Szabo. Please note the date. Don’t put this in the Elevator Music category too soon. Gabor has some redeeming value. I like the marriage of jazz guitar and Middle Eastern sounds. I recently got Harry Manx from Mare. He has a similar blend, only blues and Indian.

Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep love of jazz and crafting a distinctive, largely self-taught sound. Inspired by a Roy Rogers cowboy movie, Szabo began playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still living in Budapest. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way to America, settling with his family in California. He attended Berklee College (1958-60) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged by Hamilton, Szabo crafted a most distinctive sound; agile on intricate, nearly-free runs as he was able to sound inspired during melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams. Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and "Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-69) featuring the brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late 1960s. The emergence of rock music (especially George Harrison, Eric Clapton and Jimi Hendrix) found Szabo successfully experimenting with feedback and less successfully (but innovative at the time) with more commercially oriented forms of jazz. During the 1970s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style. But from 1970, he was locked into a commercial groove, even though records like Mizrab occasionally revealed the success of his jazz, pop, Gypsy, Indian and Asian fusions. Szabo had revisited his homeland several times during the 1970s, finding opportunities to perform brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday and five years after his final American album was released.

Bacchanal Artist Gabor Szabo Album Title Bacchanal Date of Release Feb 9, 1968 (recording) AMG Rating 4 *Genre Jazz Time 33:18 After recording four albums for Impulse in 1967, the distinctive guitarist Gabor Szabo cut three records for the Skye label in 1968, of which this LP is the strongest. Szabo's regular group of the era is heard on record for the last time: guitarist Jimmy Stewart, bassist Louis Kabok, drummer Jim Keltner and percussionist Hal Gordon. With the exception of two Szabo originals, the material is comprised of current pop tunes including two songs by Donovan, "Love Is Blue," "The Look of Love" and "Theme from the Valley of the Dolls." Despite what should have been a complete lack of potential, the Hungarian guitarist uplifts the material and mostly turns the pieces into worthwhile jazz. — Scott Yanow 1. Three King Fishers - 4:48 2. Love Is Blue - 4:17 3. Theme from Valley of the Dolls - 3:48 4. Bacchanal - 4:55 5. Sunshine Superman - 3:45 6. Some Velvet Morning - 5:10 7. The Look of Love - 3:15 8. The Divided City - 3:20

B16 Soon One Mornin' (Death Come A-Creepin' in My Room) - Mississippi Fred McDowellKen Burns Jazz (2000)

This is the only blues piece in the Ken Burns Jazz CD set. I first heard it while watching the PBS documentary. It rattled around in my head for a year before it came up on my playlist. As soon as I heard it, I tagged it as a Naweedna selection. Here it is, and it still vibrates my inner-being.

When Mississippi Fred McDowell proclaimed on one of his last albums, "I do not play no rock'n'roll," it was less a boast by an aging musician swept aside by the big beat than a mere statement of fact. As a stylist and purveyor of the original Delta blues, he was superb; equal parts Charley Patton and Son House coming to the fore through his roughed up vocals and slashing bottleneck style of guitar playing. McDowell knew he was the real deal and while others were diluting and updating their sound to keep pace with the changing times and audiences, Mississippi Fred stood out from the rest of the pack simply by not changing his style one iota. Though he scorned the amplified rock sound with a passion matched by few country bluesmen, he certainly had no qualms about passing any of his musical secrets along to his young, White acolytes, prompting several of them — including a young Bonnie Raitt — to develop slide guitar techniques of their own. Although generally lumped in with other blues "rediscoveries" from the '60s, the most amazing thing about him was that this rich repository of Delta blues had never recorded in the '20s or early '30s, didn't get "discovered" until 1959, and didn't become a full-time professional musician until the mid-'60s.

He was born in 1904 in Rossville, TN, and was playing the guitar by the age of 14 with a slide hollowed out of a steer bone. His parents died when Fred was a youngster and the wandering life of a traveling musician soon took hold. The 1920s saw him playing for tips on the street around Memphis, TN, the hoboing life eventually setting him down in Como, MS, where he lived the rest of his life. There McDowell split his time between farming and keeping up with his music by playing weekends for various fish fries, picnics, and house parties in the immediate area. This pattern stayed largely unchanged for the next 30 years until he was discovered in 1959 by folklorist Alan Lomax. Lomax was the first to record this semi-professional bluesman, the results of which were released as part of a American folk music series on the Atlantic label. McDowell, for his part, was happy to have some sounds on records, but continued on with his farming and playing for tips outside of Stuckey's candy store in Como for spare change. It wasn't until Chris Strachwitz — folk blues enthusiast and owner of the fledgling Arhoolie label — came searching for McDowell to record him that the bluesman's fortunes began to change dramatically.

Two albums, Fred McDowell, Volume 1 and Volume 2, were released on Arhoolie in the mid-'60s, and the shock waves were felt throughout the folk-blues community. Here was a bluesman with a repertoire of uncommon depth, putting it over with great emotional force and to top it all off, had seemingly slipped through the cracks of late-'20s/early-'30s field recordings. No scratchy, highly prized 78s on Paramount or Vocalion to use as a yardstick to measure his current worth, no romantic stories about him disappearing into the Delta for decades at a time to become a professional gambler or a preacher. No, Mississippi Fred McDowell had been in his adopted home state, farming and playing all along, and the world coming to his doorstep seemed to ruffle him no more than the little boy down the street delivering the local newspaper.

The success of the Arhoolie recordings suddenly found McDowell very much in demand on the folk and festival circuit, where his quiet good natured performances left many a fan utterly spellbound. Working everything from the Newport Folk Festival to coffeehouse dates to becoming a member of the American Folk Blues Festival in

Europe, McDowell suddenly had more listings in his resume in a couple of years than he had in the previous three decades combined. He was also well documented on film, with appearances in The Blues Maker (1968), his own documentary Fred McDowell (1969) and Roots of American Music: Country and Urban Music (1970) being among them. By the end of the decade, he was signed to do a one-off album for Capitol Records (the aforementioned I Do Not Play No Rock'n'Roll) and his tunes were being mainstreamed into the blues-rock firmament by artists like Bonnie Raitt (who recorded several of his tunes, including notable versions of "Write Me a Few Lines" and "Kokomo") and the Rolling Stones, who included a very authentic version of his classic "You Got to Move" on their Sticky Fingers album. Unfortunately, this career largess didn't last much longer, as McDowell was diagnosed with cancer while performing dates into 1971. His playing days suddenly behind him, he lingered for a few months into July of 1972, finally succumbing to the disease at age 68. And right to the end, the man remained true to his word; he didn't play any rock & roll, just the straight, natural blues.

B17 Too Much Coffee - Toni PriceHey (1995)

A friend of a friend suggested I check out Toni Price, so I downloaded everything I could find and discovered I really like the lady. There are two selections on the Naweedna 2002 double CD. There will be at least one more in the future – We Just Couldn’t Say Goodbye. I like this entire track except the ending. I think they marred an otherwise great track with the quirky ending. But that’s just me, eh?

Vocalist and song stylist Toni Price's first exposure to blues was through second-generation blueswoman Bonnie Raitt. After studying her recordings, Price began to study the recordings Raitt learned from, women blues singers like Sippie Wallace, Victoria Spivey and others who made names for themselves in the 1960s blues and folk revival.

Price began singing in high school, but after graduating she sat in with country bands around Nashville, where she was for the most part born and raised, after moving from southern New Jersey. When Price lived in Nashville in the late 1980s, she would religiously listen to local blues radio programs on college stations there. Price moved to Austin in 1989, and learned from the locals, who included Clifford Antone, owner of Antone's blues nightclub, and Austin-area guitarists like Derek O'Brien, who produced her second album. Shortly after she began singing in country bars in Nashville, she hooked up with songwriter Gwil Owen, who wrote many of the songs on her debut, Swim Away. In her blues singing career, Price cites vocalists Aretha Franklin, Emmylou Harris, Linda Ronstadt, Patsy Cline and Ray Charles as influences.

Although critics have heaped praise on her gifted phrasing and delivery at her live shows and on both of her albums, the title of singer-songwriter is an inappropriate one for Price; the latter part of the title doesn't apply to her. In an interview in Austin, Price said she's never had the inspiration or desire to write songs, and figures she wasn't given that talent.

Price's albums out on the Antone's/Discovery label include Swim Away (1993), Hey (1995) and Lowdown and Up (1999). Midnight Pumpkin appeared in summer 2001. Although she's relatively little-known outside of Austin's tight-knit blues community, she could be in line for a career on a par with Raitt's, if she's willing to do a lot more touring in the future.

Hey Artist Toni Price Album Title Hey Date of Release Aug 1, 1995 Genre Rock Time 49:54 1. Dean and Brandy (Davidson/Deming) - 4:01 2. Something (Elliot/Owen) - 3:11 3. Hey (Owen) - 2:45 4. Edge of the Night (Owen) - 3:45 5. Misty Moonlight (Owen) - 4:55 6. Too Close to You (Owen) - 4:17 7. I Don't Want You (Carter) - 3:51 8. Boozy Blues (Short) - 4:13 9. Tumbleweed (Owen) - 3:59 10. Bluebird (Hancock) - 4:50 11. New York City 23rf of July (McCullough) - 3:14 12. Obviously 5 Believers (Dylan) - 4:01 13. Too Much Coffee (Dylan/Owen) - 3:12

B18 Ukelele Lady - Jim KweskinGreatest Hits (1970s)

I originally bought this album because Geoff & Maria were on it. I quickly learned to appreciate Kweskin for his own bad self. This is young (in the 70s) white musicians doing Memphis jug band stuff – and doing it pretty well.

I’ve looked all over the album jacket, but I can’t find a date. Why don’t they date stamp these things? I’m sure it dates from the early to mid 70s, however. This is one of those infectious tunes that if you listen to it a couple times, you will own it. You will find yourself humming parts and asking yourself, “where did THAT come from?”

The fun side of folk music was explored by the Jim Kweskin Jug Band. During the five years they were together, the group successfully transformed the sounds of pre-World War II rural music into a springboard for their good-humored performances.

A communal-like musical ensemble, the Kweskin Jug Band was formed by Jim Kweskin, who had been inspired by a folk group, the Hoppers, featuring washtub bass player John "Fritz" Richmond. As a student at Boston University, Kweskin would often attend the Hoppers' performances at Cafe Yana in Harvard Square, learning much about guitar fingerpicking by watching the band's fingers. After Richmond was drafted into the U.S. Army, serving time in Korea and Europe, Kweskin began to frequent other folk clubs in Cambridge and Boston. Before long, he was playing guitar well enough to perform English and Appalachian ballads in folk coffeehouses.

Although Kweskin temporarily left for California, he returned to Cambridge, along with his wife Marilyn and dog Agatha, and resumed his musical career. A split-bill booking with blues enthusiast Geoff Muldaur at the Community Church in Boston on February 3, 1963, proved a turning point. In addition to peforming their own sets, Kweskin and Muldaur played several songs together. When Kweskin was invited by Maynard Solomon of Vanguard Records to record with a band, he immediately remembered Muldaur. Together with Fritz Richmond, and banjo and harmonica player Mel Lymon, Kweskin assembled the original Kweskin Jug Band. The group was a smash from the onset and were quickly signed to a record contract by Vanguard.

During a two-week stint at the Bottom Line in New York, Maria D'Amato, fiddler and vocalist for the New York-based Even Dozen Jug Band, attended a show, became enamored of Muldaur and accepted an invitation to move to Cambridge and join the Kweskin Jug Band. D'Amato and Muldaur were soon married.

Shortly after the Kweskin Jug Band performed on the nationally aired Steve Allen Show, on March 4, 1964, Lymon left the band and was replaced by banjo wiz Bill Keith, who had just left a gig with Bill Monroe's Bluegrass Boys.

The Kweskin Jug Band continued to bring their unique style of folk music to a national audience, appearing on The Roger Miller Show and The Al Hirt Show. Although Kweskin planned to move to California, the group left Vanguard and signed with Reprise, and virtuosic fiddler Richard Greene was added to the band. Just when it looked as though the Kweskin Jug Band was going to become commercially successful, Kweskin, who had moved into Lymon's commune in Fort Hill, a rundown section of Boston, shaved off his trademark mustache and announced that he was breaking up the group.

In the aftermath of the Kweskin Jug Band's demise, Kweskin continued to work as a soloist, and he formed the U & I Band in the mid-1980s. Richmond went on to become a well-respected recording engineer and producer. Geoff and Maria Muldaur recorded several memorable duo albums before their marriage dissolved in the 1970s. Keith resumed his partnership with guitarist and vocalist Jim Rooney. In addition to working on each others' albums, Keith and Rooney were instrumental in the forming of a folk supergroup, the Woodstock Mountain Revue. Lymon, who ran his commune as a cult, disappeared under still-mysterious circumstances. - Craig Harris

Downtown BluesHawaii (future Naweedna selection)I'm A Woman (future Naweedna selection)I'm Satisfied With My GalJug Band Music (Naweedna 2001)Memphis (future Naweedna selection)Mobile Line (future Naweedna selection)Morning Blues (future Naweedna selection)My GalNever Swat A FlyOverseas StompRag MamaRichland Woman (future Naweedna selection)Somebody Stole My GalStorybook BallThat's When I'll Come Back To YouUkelele Lady (Naweedna 2002)Wild About My LovingBeedle Um BumBlues In The BottleBlues My Naughty Sweety Gives To MeBorneoChevrolet (future Naweedna selection)Crazy Words, Crazy Tune

B19 Who Were You Thinking Of - Texas TornadosDownload

Mahoney put me onto the Texas Tornados. I had a couple tracks by Freddy Fender, but that was all. I downloaded a bunch of Freddy and Tornados tracks and this is the one that keeps coming back to haunt my musical memory. Hope it works for you as well.

The ultimate Tex-Mex supergroup, Texas Tornados were composed of some of the genre's most legendary figures: Doug Sahm, Augie Meyers (Sahm's bandmate in the groundbreaking Sir Douglas Quintet), Hispanic country star Freddy Fender, and accordion virtuoso Flaco Jimenez. The group's infectious, party-ready sound blended country, early rock & roll, Mexican folk music, R&B, blues, and whatever other roots musics crossed their paths. The Tornados first assembled in 1989 at a concert in San Francisco, billing themselves as the Tex-Mex Revue. They enjoyed the collaboration so much they decided to stick with it and generated far more publicity together than they would have solo; Jimenez had released several acclaimed albums by that point, but Sahm had recorded only sporadically during the '80s, and Fender hardly at all. Their self-titled debut album was released on Reprise in 1990 — in both English and Spanish versions — to rapturous reviews and also sold pretty well, reaching number 25 on the country charts. The group toured extensively behind it and issued the Grammy-nominated follow-up album Zone of Our Own in 1991, again to hugely positive reviews. By the time of 1992's Hangin' on by a Thread, the group's primary audience was Latino, and Jimenez accordingly took more and more of the spotlight. After more touring, the group went their separate ways to concentrate on other projects and work on new material; most notably, Sahm and Meyers formed a new version of the Sir Douglas Quintet. In the meantime, Reprise issued a compilation, The Best of Texas Tornados. The Tornados reconvened in 1996 for the album 4 Aces, which didn't attract quite as much attention or acclaim as their previous work. The group's late-1998 concert at Antone's in Austin was recorded and released the following summer as Live From the Limo, Vol. 1; unfortunately, it would prove to be the only volume, as Sahm died of a heart attack in late 1999.

The Best of Texas Tornados Artist Texas Tornados Album Title Best of Texas Tornados Date of Release Feb 8, 1994 AMG Rating 4.5 * checkedGenre Rock Type compilation Time 33:07 Featuring material from all of their albums, The Best of Texas Tornados is a terrific compilation of one of the best Tex-Mex bands of the last two decades. — All Music Guide 1. Who Were You Thinkin' Of? (Gauvin/Glaser/Pelletier) - 2:27 2. (Hey Baby) Que Paso (Meyers/Sheffield) - 2:59 3. Wasted Days and Wasted Nights (Duncan/Fender/Huerta/Meaux) - 3:29 4. Guacomole (Fender/Levy/Meyers) - 2:36 5. La Mucura (Fuentes/Mata) - 2:41 6. Adios Mexico (Sahm) - 2:44 7. Mentiras (Rivera) - 3:37 8. (Is Anybody Going To) San Antone (Kirby/Martin) - 3:02 9. A Mover el Bote (Muñoz) - 3:10 10. Una Mas Cerveza (Russell) - 2:39 11. Soy de San Luis (Jimenez/Ortega) - 3:43

B20 Wrap Your Troubles In Dreams (And Dream Your Troubles Away) - Les Paul & Mary FordMore Music from Northern Exposure (1994)

Ah, the two CDs from the Northern Exposure TV show represent the most eclectic and, I think, best collection of music anywhere. Check out the tracks and see if you don’t agree. I’ve tried to track the artists down so I could get more, but many of them are obscure. It is my belief that David Schwartz is responsible for collecting these tracks – as well as the others played on Northern Exposure. I can imagine him going to a large university music library, listening to a bunch of albums, and picking the very best from each. This is very much like Will Moyle’s jazz selections, except the Northern stuff covers so many different genres. When I listen to a CD now, I try to pick the one best track. I call it “Northerning” a CD. Clearly, my Naweedna CDs mimic the Northern Exposure collections.

Northern Exposure Artist Various Artists Album Title Northern Exposure Date of Release 1992 (release) AMG Rating 4 *Genre Soundtrack

Type various artists, soundtrack Time 42:31

1. Theme from Northern Exposure by David Schwartz - 3:04 2. Jolie Louise by Daniel Lanois - 2:39 3. Hip Hug-Her by Booker T. & the MG's - 2:24 (future Naweedna selection) 4. At Last by Etta James - 2:59 5. Everybody Be Yoself by Chic Street Man - 3:06 (future Naweedna selection) 6. Alaskan Nights by David Schwartz - 2:40 7. Don Quichotte by Magazine Sixty - 5:08 8. When I Grow Too Old to Dream by Cole, Nat King Trio - 3:30 9. Emabhaceni by Miriam Makeba - 2:39 (future Naweedna selection) 10. Gimme Three Steps by Lynyrd Skynyrd - 4:27 11. Báilèro from Chants d' Auvergne by Frederica VonStade / Royal Philharmonic Orchestra - 6:25 12. Medley: A Funeral in My Brain/Woody the... by David Schwartz - 3:30

More Music from Northern Exposure [MCA] Artist Original TV Soundtrack Album Title More Music from Northern Exposure [MCA] Date of Release Nov 8, 1994 Genre Soundtrack Type soundtrack Time 41:39

1. Ojibway Square Dance (Love Song) – Georgia Wettlin-Larsen2. Theme From Northern Exposure – David Schwartz3. Stir It Up – Johnny Nash4. Mambo Baby – Ruth Brown5. Someone Loves You – Simon Bonney (future Naweedna selection)6. The Ladder – David Schwartz7. If You Take Me Back – Big Joe & His Washboard Band (Naweedna 2003)8. Un Mariage Casse (A Broken Marriage) – Basin Brothers9. There I Go Again -- Vinx10. Lay My Love – Brian Eno & John Cale11. Wrap Your Troubles In Dreams (And Dream Your Troubles Away) – Les Paul & Mary Ford (Naweedna

2002)12. Mooseburger Stomp – David Schwartz13. I May Want a Man – Joanne Shenandoah (on Brian’s Grooves 2000 … will be on a future Naweedna CD)

B21 You Did It - Roland KirkWe Free Kings (1961)

Rahsaan Roland Kirk, what an unusual specimen. He is blind. He plays three saxophones at once (I have seen it AND I have pictures), and he has perfected cyclic breathing so he can hold a note indefinitely. Rashaan is one weird dude, especially when you consider his dates. He plays flute on this track and does that little vocalization in his throat while playing. I know younger guys have done this, but I first heard it on this particular track. There will be more Kirk on future Naweedna CDs … Old Rugged Cross, if Janie will let me put it in. It’s one of the few music tracks we do not agree on ;-)

Arguably the most exciting saxophone soloist in jazz history, Kirk was a post-modernist before that term even existed. Kirk played the continuum of jazz tradition as an instrument unto itself; he felt little compunction about mixing and matching elements from the music's history, and his concoctions usually seemed natural, if not inevitable. When discussing Kirk, a great deal of attention is always paid to his eccentricities — playing several horns at once, making his own instruments, clowning on stage. However, Kirk was an immensely creative artist; perhaps no improvising saxophonist has ever possessed a more comprehensive technique — one that covered every aspect of jazz, from Dixie to free — and perhaps no other jazz musician has ever been more spontaneously inventive. His skills in constructing a solo are of particular note. Kirk had the ability to pace, shape, and elevate his improvisations to an extraordinary degree. During any given Kirk solo, just at the point in the course of his performance when it appeared he could not raise the intensity level any higher, he always seemed able to turn it up yet another notch.

Kirk was born with sight, but became blind at the age of two. He started playing the bugle and trumpet, then learned the clarinet and C-melody sax. Kirk began playing tenor sax professionally in R&B bands at the age of 15. While a teenager, he discovered the "manzello" and "stritch" — the former, a modified version of the saxello, which was itself a slightly curved variant of the Bb soprano sax; the latter, a modified straight Eb alto. To these and other instruments, Kirk began making his own improvements. He reshaped all three of his saxes so that they could be played simultaneously; he'd play tenor with his left hand, finger the manzello with his right, and sound a drone on the stritch, for instance. Kirk's self-invented technique was in evidence from his first recording, a 1956 R&B record called Triple Threat. By 1960 he had begun to incorporate a siren whistle into his

solos, and by '63 he had mastered circular breathing, a technique that enabled him to play without pause for breath.

In his early 20s, Kirk worked in Louisville before moving to Chicago in 1960. That year he made his second album, Introducing Roland Kirk, which featured saxophonist/trumpeter Ira Sullivan. In 1961, Kirk toured Germany and spent three months with Charles Mingus. From that point onward, Kirk mostly led his own group, the Vibration Society, recording prolifically with a range of sidemen. In the early '70s, Kirk became something of an activist; he led the Jazz and People's Movement, a group devoted to opening up new opportunities for jazz musicians. The group adopted the tactic of interrupting tapings and broadcasts of television and radio programs in protest of the small number of African-American musicians employed by the networks and recording studios. In the course of his career, Kirk brought many hitherto unused instruments to jazz. In addition to the saxes, Kirk played the nose whistle, the piccolo, and the harmonica; instruments of his own design included the "trumpophone" (a trumpet with a soprano sax mouthpiece), and the "slidesophone" (a small trombone or slide trumpet, also with a sax mouthpiece). Kirk suffered a paralyzing stroke in 1975, losing movement on one side of his body, but his homemade saxophone technique allowed him to continue to play; beginning in 1976 and lasting until his death a year later, Kirk played one-handed.

We Free Kings Artist Rahsaan Roland Kirk Album Title We Free Kings Date of Release Aug 16, 1961 - Aug 17, 1961 (recording) AMG Rating 4 *Genre Jazz Time 38:40 We Free Kings, Roland Kirk's third long-player, is among the most consistent of his early efforts. The assembled quartet provides an ample balance of bop and soul compliments to Kirk's decidedly individual polyphonic performance style. His inimitable writing and arranging techniques develop into some great originals, as well as personalize the chosen cover tunes. With a nod to the contemporary performance style of John Coltrane, as well as a measure of his influences — most notably Clifford Brown and Sidney Bechet — Kirk maneuvers into and out of some inspiring situations. His decidedly 'Trane-esque solos on "My Delight" are supported with a high degree of flexibility by one-time Charles Mingus' pianist Richard Wyands and Dizzy Gillespie percussionist Charlie Persip. The album's title track is a Kirk original, based on the melody of the Christmas hymn "We Three Kings." Incorporating recognizable melodies into Kirk's oft times unorthodox musical settings would prove to be a motif throughout his career. An example is the highly touted cover of Charlie Parker's "Blues for Alice." This is an ideal avenue for the quartet to explore one of Kirk's specialties — the blues. The almost irreverent manner in which he fuses blues and soul music into the otherwise bop-driven arrangements is striking. "A Sack Full of Soul" is a funky number with a walking-blues backbeat that perfectly supports Kirk's swinging solos. The stop time syncopation is reminiscent of Ray Charles' "What'd I Say." The 1987 CD version also includes an alternate take of "Blues for Alice." One additional track — a cover of the Frank Loesser standard "Spring Will Be a Little Late This Year" — was also recorded at these sessions and remained unissued until its inclusion on the ten-disc Rahsaan: The Complete Mercury Recordings of Roland Kirk box set. — Lindsay Planer 1. Three for the Festival (Kirk) - 3:07 2. Moon Song (Coslow/Johnston) - 4:20 3. A Sack Full of Soul (Kirk) - 4:37 4. The Haunted Melody (Kirk) - 3:37 5. Blues for Alice [alternate take/*] (Parker) - 5:11 6. Blues for Alice (Parker) - 4:08 7. We Free Kings (Kirk) - 4:44 8. You Did It, You Did It (Kirk) - 2:27 9. Some Kind of Love (Kirk) - 6:09 10. My Delight (Kirk) - 4:28