Jazz for aficionados


Jazz for aficionados

I'm going to review records in my collection, and you'll be able to decide if they're worthy of your collection. These records are what I consider "must haves" for any jazz aficionado, and would be found in their collections. I wont review any record that's not on CD, nor will I review any record if the CD is markedly inferior. Fortunately, I only found 1 case where the CD was markedly inferior to the record.

Our first album is "Moanin" by Art Blakey and The Jazz Messengers. We have Lee Morgan , trumpet; Benney Golson, tenor sax; Bobby Timmons, piano; Jymie merrit, bass; Art Blakey, drums.

The title tune "Moanin" is by Bobby Timmons, it conveys the emotion of the title like no other tune I've ever heard, even better than any words could ever convey. This music pictures a person whose down to his last nickel, and all he can do is "moan".

"Along Came Betty" is a tune by Benny Golson, it reminds me of a Betty I once knew. She was gorgeous with a jazzy personality, and she moved smooth and easy, just like this tune. Somebody find me a time machine! Maybe you knew a Betty.

While the rest of the music is just fine, those are my favorite tunes. Why don't you share your, "must have" jazz albums with us.

Enjoy the music.
orpheus10

I am fascinated to the point of being obsessed by "drum rhythms". I have traced them from Africa to Brazil and the Caribbean. We can divide the Caribbean into Cuba, Haiti, The Dominican Republic, and all of the smaller islands in the Caribbean. The singular most unique thing about these African rhythms, is the fact that they got lost in the U. S. of A. I don't hear any African rhythms emanating from here, maybe someone else does, but I don't.

Of course we can incorporate anything we want to in jazz, but I'm speaking of what was originally in "modern jazz"; that's jazz from the 50's to the present; it was "influenced" by Charley "Bird" Parker, more than any other single individual. Of course there were others, and they will tell you the same thing; he was the "High Priest".

"Le Liasons Dangerous"     Recorded in 59.

Bass – Jimmy Merritt*
Bongos – John Rodriguez* (tracks: 2 to 10)
Congas – Tommy Lopez (tracks: 2 to 10), William Rodriguez* (tracks: 2 to 10)
Drums – Art Blakey
Piano – Bobby Timmons, Duke Jordan (tracks: 3)
Soprano Saxophone, Tenor Saxophone – Barney Wilen (tracks: 1, 3 to 9)
Trumpet – Lee Morgan


  https://www.youtube.com/watch?v=jw_8i22pBcs&list=PLUJ7V33M1wR0kn82R1Xp6WwvZ47aK-2BP


This music is typical of "Hard Bop", if there is anything typical about any Hard-Bop. These artists are uniquely gifted; I'm saying that going to school and practicing won't get you there, either you got it or you don't.

This music began as "African American" music from our great cities, that aren't so great anymore. Whereas I can hear something "African" in the music from Cuba, Brazil, and the Islands, I don't hear that from American jazz. Why this is so, or not so, could be debated until the next millennium, but the reality would remain the same.

I hear Chicago, I hear New York, I hear Detroit, and the rest of our cities that were great places to live, love, and create; that's where this music began.


In addition, I'm going to add some of my favorites, and in this music I'm celebrating "Pepper Adams". Although he's not the leader, he's one of the other individuals who make this music great.


 
            https://www.youtube.com/watch?v=U_0wBTUvM6M


          https://www.youtube.com/watch?v=__OSyznVDOY


          https://www.youtube.com/watch?v=Qo0P2YugUnU


Enjoy this music.




***** No doom and gloom as far as I can see.*****

Irby is a member of the establishment by age and Jazz played.

Doom and Gloom refers to the POSSIBILITY of the noise makers dominating Jazz in the future.   I am confident Wynton will head them off at the pass, so to speak.

If a noise maker succeeds him at Lincoln Center, then all bets are off.

Cheers

I am fascinated to the point of being obsessed by "drum rhythms". I have traced them from Africa to Brazil and the Caribbean. We can divide the Caribbean into Cuba, Haiti, The Dominican Republic, and all of the smaller islands in the Caribbean. The singular most unique thing about these African rhythms, is the fact that they got lost in the U. S. of A. I don't hear any African rhythms emanating from here, maybe someone else does, but I don't.

Of course we can incorporate anything we want to in jazz, but I'm speaking of what was originally in "modern jazz"; that's jazz from the 50's to the present; it was "influenced" by Charley "Bird" Parker, more than any other single individual. Of course there were others, and they will tell you the same thing; he was the "High Priest".

"Le Liasons Dangerous"     Recorded in 59.

Bass – Jimmy Merritt*
Bongos – John Rodriguez* (tracks: 2 to 10)
Congas – Tommy Lopez (tracks: 2 to 10), William Rodriguez* (tracks: 2 to 10)
Drums – Art Blakey
Piano – Bobby Timmons, Duke Jordan (tracks: 3)
Soprano Saxophone, Tenor Saxophone – Barney Wilen (tracks: 1, 3 to 9)
Trumpet – Lee Morgan


  https://www.youtube.com/watch?v=jw_8i22pBcs&list=PLUJ7V33M1wR0kn82R1Xp6WwvZ47aK-2BP


This music is typical of "Hard Bop", if there is anything typical about any Hard-Bop. These artists are uniquely gifted; I'm saying that going to school and practicing won't get you there, either you got it or you don't.

This music began as "African American" music from our great cities, that aren't so great anymore. Whereas I can hear something "African" in the music from Cuba, Brazil, and the Islands, I don't hear that from American jazz. Why this is so, or not so, could be debated until the next millennium, but the reality would remain the same.

I hear Chicago, I hear New York, I hear Detroit, and the rest of our cities that were great places to live, love, and create; that's where this music began.


In addition, I'm going to add some of my favorites, and in this music I'm celebrating "Pepper Adams". Although he's not the leader, he's one of the other individuals who make this music great.


 
            https://www.youtube.com/watch?v=U_0wBTUvM6M


          https://www.youtube.com/watch?v=__OSyznVDOY


          https://www.youtube.com/watch?v=Qo0P2YugUnU


Enjoy this music.




@frogman 
"Oh, I get it! West Adams, LA; not Adam(s) West (Batman).  You heard Roland Kirk in 1965.  Good for you.  I’m jealous; never had that privilege.  Amazing player."

Circa 1963-1965 there were a few large theaters in South Central LA, which often had after hours jazz.  The dates might be a bit off- my memory is vague. The name of one was the Adams West Theater.  Often the players were first rate, big names.  I do remember the Dick Grove orchestra would of play and of course Kirk. I think we heard Gerald Wilson's orchestra as well.  I regret I can't remember some of the other giants. .  Entry was a few bucks and you could listen to the wee hours.  I only had a small sense of what an incredible opportunity that was for a young, naive jazz aficionado like myself.  My most vivid memory was Kirk in the spotlight with multiple horns hanging from his neck -making music unlike I'd ever heard before.  
Post removed 
I just remembered something else from that era.  A tune called "York's Sauna" which was recorded by the Don Scaletta Trio.

The song was getting decent airplay and I heard it performed live not by The Scaletta Trio, but by another group at one of those after-hours theaters.  I can't be certain, but it may have been Kirk. I do remember the pronunciation of the title being "York's Sa- Yoona" announced in a deep mellifluous voice by the reeds player after they finished.

https://www.youtube.com/watch?v=B3kuBixDyXo

What a time warp....  :)
Drumming:

Hollywood generated fiction.   Whenever they show primitive people, be it Africa, India, or any Island folks, they always show drums.   Mainly to show something erotic or dangerous. The folks that are beating on drums these days in third world countries, are doing so in response to Hollywood, not the other way around.

Cheers
This thread has gotten me into flashback time travel.  A high school kid falling asleep with a transistor radio under his pillow listening to Symphony Sid.  Jumpin' with my boy Sid in the City....

Among many greats Sid introduced me to was  Olatunji.  AKA 'tunji.  "Drums of Passion".  I still have the LP.  Likewise Ornette.  "Change of the Century", which I also still have,  'Un Muy Bonita' is mucho bonita.  :) . Cherry Haden. et al.

 I remember reading the account in the New York Times of Leonard Bernstein jumping up and proclaiming Ornette a genius after hearing him in some club.

Damn, for a suburban white kid I sure was lucky.  Visited many Village jazz joints. Birdland uptown as well. $20 bux in your pocket went a long way back then. Even with a date.

I remember seeing the Toshiko Mariano quartet one night - I think it was at the Half Note, and noticed a large hulking figure off to the side. Toshiko said: "Hi Charlie"  It was Mingus of course.  


I think that this thread, in the scheme of internet based and disseminated 
information/discussion, can be a small but not insignificant contribution to the education of listeners new to jazz.  The OP should be commended for starting it.  Thank you, O-10.  However, to continue to promulgate an idea that is not only seriously mistaken and that goes against not only the opinion of every authority on the subject, but the practitioners of the art form itself does a major disservice.  This mistaken idea goes to very core of what is probably the most fundamental and important aspect of this music:  its rhythms and where those rhythms came from.

First, the fact that any one listener cannot “hear” African rhythms as the listener knows and understands them in jazz does not mean that those rhythms are
not there; or, at least, serve as the foundation for those jazz rhythms as they are understood.  It is like insisting that European based chord progressions and harmony do not exist in the music because the listener cannot hear them as such.  

**** The folks that are beating on drums these days in third world countries, are doing so in response to Hollywood, not the other way around.****

We know about the distortions of so much by Hollywood: but, sorry Rok, and with respect, that is one of the most ridiculous comments I have read in this forum; second only to a recent comment about the irrelevance of Sonny Rollins.

There is so much written on the subject that it almost seems silly to post links to very interesting and educational information and commentary easily available.  I encourage all to do a little reading on the subject.  
Nice accounts, ps; thanks for those.  Btw, this year marks what would have been the great Leonard Bernstein’s 100th birthday.  Lots of his music being performed everywhere this year.
*****  that is one of the most ridiculous comments I have read in this forum; second only to a recent comment about the irrelevance of Sonny Rollins.*****

No, No, No and finally NO.   The most ridiculous statement ever posted on this forum,  or any other forum in the Alpha Quadrant, was this:

"As Composers go, Stravinsky ranks right up there with Mozart".

It don't get more ridiculous than that.   I can't recall the person that posted that monstrosity.    Can I get some help with that, folks?

Your advice to 'Read up on the Subject', always amuses me.   We are to read the writings of the very people who are the guilty parties in the first place, in order to get at the truth.   FTW!!

Cheers
A couple of pretty good musical examples and  demonstration of African rhythm in jazz for anyone who cares.  I guess Wynton doesn’t know what he’s talking about after all 😊

https://youtu.be/bkyOFkBAMDg

https://youtu.be/w3XsrJpaUXI
Drums say:   we attack at dawn, unless it's raining, then we wait until it stops, you attack from the east, we will come from the north, wait until I shoot first.  We don't need no stinkin' prisoners.  good luck.

This message also takes two puffs of smoke in Apache country. 

Cheers
I don’t think that the comments of amateur sociologists or historians add anything of value to this thread. Jazz and its history is complicated enough. First, and always foremost, is the music.
Nice Don Scaletta clip, thanks. Very good player and new to me.  You also got to see another of my very favorite alto players, Charlie Mariano; good for you.   

This has always been one of my favorite records, and the record that introduced me to Charlie Mariano:

https://m.youtube.com/watch?v=3Sj9IVxajjM


Since we are on "drum rhythms" and since I obviously cannot contribute on the above posts, maybe can post something like this (or I may not, hmm...). Maybe I dare too much, but what the heck...

Does anyone know this guy? Dusko...

https://www.youtube.com/watch?v=6w8D-AM1noM
Joe Nay on drumms (studied at Kenny Clark’s)

https://www.youtube.com/watch?v=hGC67Hj9PWk
Cees See on drumms

More on Dusko:
https://www.youtube.com/watch?v=uWHfwHeeKpk

p.s.
Frogman
About that phrase, well that’s a good one...:)))
A Gift to and for the OP.   All his favorite styles.


https://www.youtube.com/watch?v=0aAUP3JoBB4

"  On this channel you will find the best cozy music, jazz music, bossa nova music, romantic music, chillout music, retro music, flamenco music, morning music, piano and guitar music, coffee music, tea music, music for cooking, music for reading, cafe bar music, piano bar music, healing music, holiday music, stress relief music, ambient music, new age music, guitar music, Spanish music, Italian music, French accordion music, instrumental music, inspirational music, relaxing music, meditation music, bedtime music, sleep music, calming music, soothing music, background music, yoga music, spa music, piano music, classical music, study music, brain power music, work music, dinner music & breakfast music." 

Cheers
                                         
Well, at least Mozart gave credit to Haydn, to the best of my knowledge that's more than Stravinsky ever gave Scarlatti .

Rok, we've been down this avenue before, they complain about the sociologist and the historian, so we give them the floor; now where are they?

Mary-jo has no complaints, so we're going to carry on. I'm going to begin with one of my favorite damsels, Anna Maria Jopek.


              https://www.youtube.com/watch?v=0iSiPjbS8_Q



I posted straight up "Hard Bop" jazz tunes yesterday, at 11:35 AM, and nobody commented, but they had something to say about "sociologists and historians", plus Schubert had a comment about New York in 1880 that I'm still trying to get a grip on. Now I remember, it was very violent; that was the relevance.

These are the 4 "Hard-Bop" tunes I posted yesterday, maybe somebody can comment on them today. Although Blakey recorded in 59, this is the first time I heard it, and I already bought it.


None of these are exotic with an African drum beat.

         

  https://www.youtube.com/watch?v=jw_8i22pBcs&list=PLUJ7V33M1wR0kn82R1Xp6WwvZ47aK-2BP


 
            https://www.youtube.com/watch?v=U_0wBTUvM6M


          https://www.youtube.com/watch?v=__OSyznVDOY


          https://www.youtube.com/watch?v=Qo0P2YugUnU


Enjoy this music.

             
                                     
*****we've been down this avenue before, they complain about the sociologist and the historian, so we give them the floor; now where are they?*****

He said "amateur" sociologist and historians'.   I just assumed he was talking about The Frogman.   Certainly not us.

Cheers
























                                         
Just some friendly food for thought: I think it would be most positive and productive if ego and defensiveness would not so completely trump a willingness to at least consider the possibility that there is something new to learn; especially in the face of so much evidence to support the opposing point of view. As an alternative, how about presenting evidence as a rebuttal; or, comments re why it is ok to misrepresent an important and fundamental aspect of what the thread is about to be begin with? If none of that is possible for any reason, how about simply keeping the dialogue going forward free of sarcasm? In other words....reasonable and mature and just moving on.

Just food for thought. Regards.




@orpheus10 :

You pick tunes from one of the most highly regarded Jazz recordings ever(abstract truth), and then one of Morgan's best performances from one of his Best recordings(The Cooker), so there is not much to say except it be good.

The Messenger clip was used as a theme for a French movie.   I think I saw that movie while working in Atlanta.   I used to frequent the 'Preach Tree Art Theater'.   Mainly to get a better look at folks like  Bridget Bardot.   Otherwise, hated French movies, and anything associated with them.   But this is Blakey.   I did see 'Alfie' there.   Great movie and theme song.

The Mingus cut, is from a  CD by 'Mingus big Band', not Mingus himself.   That influences what I think of it.   Again good Jazz.   Certainly not noise.   But not 'genius at work'.

The Frogman will have to tell us why we really like this music.

I thought Moanin' and Tunisia were better than the originals.   Which makes sense. Covers should be better, otherwise, why do them.

Cheers

Frogman, you can keep your food for thought; I was speaking of thje cuts I presented that were not commented on.

The last 3 cut had "Pepper Adams" in common. Those of us who heard the music heard Pepper Adams.


          https://www.youtube.com/watch?v=WyOlc8BaR0A


This is Pepper Adams for sure.
Fair enough, O-1O,  but I could not imagine that “giving the floor” referred to an invitation to comment (again) on clips that have been commented on God knows how many times previously.   Nothing necessarily wrong with that I suppose, but not exactly the first thing that comes to mind.  Very good and classic recordings (again).  
Frogman, you didn't even read the post, and you still haven't read it, or if you did, you didn't understand it.

The post was about how significant Pepper Adams contributions were, which is part of why Rok said they were better than the originals.

You still didn't hear what I was specifically speaking of.




Rok, I know Wynton is your main man, but Africa in "hard-bop" is truly rediculous. That's where the trolly jumped the tracks; he might as well said that African Americans are speaking in "Ojibway" or some tribal language without knowing it.

Because I can't hear African in the jazz drums doesn't mean it's not there. The drumer doesn't know he's putting out some African beats because they're in code.


Rok, this is Frogmans paragraph, could you translate it for me?

"First, the fact that any one listener cannot “hear” African rhythms as the listener knows and understands them in jazz does not mean that those rhythms are not there; or, at least, serve as the foundation for those jazz rhythms as they are understood. It is like insisting that European based chord progressions and harmony do not exist in the music because the listener cannot hear them as such."

Call this the 'hard-bop' African drum code.

***** Rok, I know Wynton is your main man, but Africa in "hard-bop" is truly rediculous. That's where the trolly jumped the tracks; he might as well said that African Americans are speaking in "Ojibway" or some tribal language without knowing it.*****

I didn't read the article, but I have heard it all before.  SOME black people love the idea of anything being traced back to Africa.   They want so badly want to have an 'Old Country', like the European groups in this country.   They are in search of their 'culture', while overlooking the tremendous contributions they have made to this culture.They think saying something is from Africa gives it gravitas and importance.  BS!

Back in the day a lot of black folk wore their hair in an 'Afro' style, well, I have never seen Africans wear their hair like that, and I knew quite a few in Germany and in college.   We went through the Dashiki stuff.   We give our children stupid names, thinking they are African in origin.  BS!! They also want to be African partly because they felt rejected by this country.   A Psychiatrist would have a field day figuring all this out.   It's complicated.

So, if a Jazz player has a choice of saying my music originated on a cotton plantation in Mississippi(for instance), or in some mythical Kingdom in Africa, guess what sports fans?   Remember, we have also been convinced that the most horrible / degrading thing a human being can be required to do, is pick cotton.

Wynton was saying what was expected of him.   Nothing more.   If that's the price to stay at Lincoln Center, so be it.   He is still the most important man in Jazz.

Cheers



******"First, the fact that any one listener cannot “hear” African rhythms as the listener knows and understands them in jazz does not mean that those rhythms are not there; or, at least, serve as the foundation for those jazz rhythms as they are understood. It is like insisting that European based chord progressions and harmony do not exist in the music because the listener cannot hear them as such."******

The Frogman is saying that just because we amateurs(you & me) can't hear the African stuff as we understand African stuff, i.e. Hollywood, that does not mean the African stuff is not there.

That's a fair statement.

HOWEVER, I have asked The Frogman on many occasions to post a clip of Jazz in which he can then point out to us the African stuff as we listen.   Of course he would also have to compare it with indigenous African music from the 17th century.   Nothing!

Apparently he is accepting this stuff on blind faith.

Food for thought.   Back in the 20s and early 30s, white people said they had invented Jazz.  Where was the African crowd then?   Just asking.

Cheers
Rok, you leave no recourse but to be blunt. Think about all the times that you have, in a rare moment of magnanimity (unsolicited), said “I just love it when the Frogman points out the fine details in music”; or something to that effect. When you don’t need to have those things pointed out to you and you, yourself, can hear and point some of those details out to others here is when you will be able to hear the African influence and connection to jazz. Or, simply be less cynical and have some faith (not blind) that there are some (and I don’t mean me) who study this kind of stuff on a very high level and know what they are talking about; then use that as a starting point for learning to hear those details. Wynton’s demonstration is actually excellent. If you can’t grasp what he is pointing out, I don’t know what to tell you; it’s pretty clear.

**** Wynton was saying what was expected of him. Nothing more. ****

Pathetic. Again no recourse but to be blunt; you don’t know what you’re talking about.

Btw, I never referred to you or O-10 as amateurs; I wouldn’t do that.
O-10, I did read your post. I did not comment on the clips (not that I thought it was a requirement 🤨) for the simple reason that with the African rhythm dispute so fresh I did not want to add any fuel to the fire by pointing out that the “Moanin” clip that you posted three times does not have Pepper Adams playing on it. The baritone player is Ronnie Cuber, the player that pryso will likely hear when he goes to hear “Mingus Dynasty”. The last “Moanin” clip that you posted by itself is with Pepper Adams. Btw, I don’t know why Rok thought they were better than the originals; I’ll let him speak for himself. Pepper Adams could not have been the reason for why he liked that Moanin better since it wasn’t Pepper. Btw, with so many versions of Tunisia, which do you consider the “original”? For me it would have to be Dizzy’s original, no?


Rok, I want you to know that I agree with your post in it's entirety.

First and foremost, I knew personally, professional musicians who played "Hard-Bop", and they would have laughed at you, coming up with this African crap.  Like they were playing it but didn't even know it.  

Yes, he is the most important man in jazz, but since "Mr. Cholly" determines that...... but "Mr. Cholly" determines everything.


And now for something completely different.... A lot of this is Axeplay cuz I was a pro 6-slinger for years. But not all of it.

Kenny Burrell-Best of
Wes Montgomery-The incredible Jazz Guitar
Friday Night in San Francisco-Paco, Al and Johnny
The Crusaders-Best of
Mingus Big Band-The Essential Mingus Band (a tribute but way cool)
Joe Sample-Did You Feel That?
Trilok Gurtu-Believe
John McLaughlin-The Promise
Jacintha-Here's to Ben (I use Danny Boy to center image speakers)
Mike Garson-The Oxnard Sessions Vol. 2 (the guy is certifiably insane)
Return to Forever-Romantic Warrior (jazz/fusion supergroup!)
Tomasz Stanko-Suspended Night (the Pole can play)
Lee Rittenhour-Wes Bound (nice recording)
John Scofield-Bump
Jimmy Smith Live!-Root Down (essential organ jazz)
Louis A-Live at the 1958 Monterey Jazz Fest (gotta mention this, he's my homeboy)
New Orleans 2005 (That's all iTunes had for a title-various NOLA jazz royalty)

And the late great guitar genius-not for the adventurously challenged-Allan Holdsworth:
All Night Wrong
Then!

Hope you find something you might like. I also have some suggestions for Norwegian death metal...(seriously), lol

One more. If you haven't heard it, Jimi Hendrix 'Nine to the Universe'. I've seen the album and CD on eBay. It was originally a bootleg. Shows a jazzy-ish side of him, jamming away. A shame he never got to flesh it out. One of the jams features Roland Kirk. Essential Hendrix or anyone who likes great guitar.
**** I knew personally, professional musicians who played "Hard-Bop", and they would have laughed at you, coming up with this African crap. Like they were playing it but didn’t even know it. ****

Total bs. There probably isn’t or wasn’t  one single “professional” bop musician that doesn’t acknowledge that the basis for jazz rhythms, the underlying influence (and that’s the concept that you guys don’t seem to be able to grasp) is African rhythms; the unique feeling of swing, among other things, which comes right out of those drumming traditions. With respect, O-10, you’re grasping at straws and digging your heels in: not to mention making stuff up.

Over and out on this one. Too bad.


Sloryder, judging from your post, I sincerely hope that you'll be with us, and post on a regular basis.

I have all of the artists, (except Allan Holdsworth) and most of the albums you posted in my collection.

I'm looking forward to your next post.

Frogman, you're wrong right off the bat; first all, there is no one "African rhythm", there are more different African rhythms than you can shake a stick at, some of them are in Brazil, but no longer in Africa.

You have to know something about slavery in order to know about African drumming; that's because Africa is a continent, and not a country. Before slavery, there were villages and tribes, not countries. The drummers were primarily for the different dances they did in the villages after supper. If you recall "Roots", Kunta Kente spoke of the "village" he was from, not the country.


According to Roots, Kunta Kinte was born circa 1750 in the Mandinka village of Juffure, in the Gambia. One day in 1767, while Kunta was searching for wood to make a drum for his younger brother, four men chased him, surrounded him, and took him captive.
Kunta Kinte - Wikipedia


There is dance that goes with the drumming from that village; it is still done today.


There were countless villages that left Africa on that long boat ride to "The Americas". Some villages were transported to "The Americas", and what ever existed in them, no longer resides in Africa; but can be found in "Bahia" in Brazil.


"Capoeira" rhythms in Brazil are most fascinating; check out "Zum Zum Zum";


    https://www.youtube.com/watch?v=WkZPiZ59lME


    https://www.youtube.com/watch?v=6H0D8VaIli0


Frogman, you present the most erroneous stuff in such a positive fashion that I almost believe it.

After your response, we should get back to what this thread was intended to be about; which means that I'll only respond if it's something a "jazz aficionado" can use.


Mary_jo, this thread was began for people like yourself, who are trying to build their jazz collections. We have a new "aficionado" who has just posted some of the most important artists and albums in jazz. If you go to "you tube" and check some of those, you will discover what artist you favor the most, or which album you like the best, and we can advise you on what to purchase.


Looking to hear from you.

Alex, I've purchased some of the albums you posted, and nothing can affirm more of what one aficionado thinks about another aficionado's taste, than the purchase of an album he either recommends or posts.

Keep those posts coming.

Frogman, although we have our disagreements, that doesn't diminish how important you are to this thread, and I never forget it.