New Arrivals and Restocks - Spring 2010

Duo recording of two legends of outside music: saxophonist Arthur Doyle and guitarist Rudolph Grey, recorded at Bob Reid and Hakim Jami’s squat on Bergen Street in downtown Brooklyn on January 12, 1980. This blast was originally scheduled for release on Charles Tyler’s Ak-Ba label.

Equal parts blues, early rock ‘n’ roll, and R&B, Hezekiah and the Houserockers sported a unique and enjoyable guitar / trombone / harmonica / drum set-up that dished out easygoing good-time music, with the ‘bone giving a hint of New Orleans to the proceedings. The material on this album was recorded in 1981, one side studio, one side live. The live side is hotter, especially “You Know I Love You,” which has a groove reminiscent of Slim Harpo. I find it all pretty endearing, a different shade on Hezekiah Early than the more well-known, wild later output with Elmo Williams (hear their classic “Takes One to Know One” LP, also available here).

Despite some slight wobble due to warping, these played fine on my cheapo system. I’ll guarantee all purchases. Restocked once again.

Long-awaited reissue of legendary songwriter Michael Hurley’s quietly incredible second album from 1971. A lovely, easygoing record, crafted with a care and attention to detail that perhaps becomes more apparent with repeated listens. In my case, while I found this album to be an appealing one from the first play, it continued to grow on me until it slowly went into heavy rotation, where it still resides. “Sweedeedee” in particular is a favorite.

(Note that the original Raccoon issue had a comic book that is not reproduced here, but this reissue offers a new back cover painting by Hurley and color labels.)

Original copies of this very scarce 45, privately pressed by Rev. Charlie Jackson on his own Jackson Records imprint in the 1970s.

Regular 50 Miles readers/visitors may well have noticed that Rev. Charlie Jackson’s raw, bluesy gospel is a big favorite of mine.  Born in 1932 just outside of McComb, Mississippi, he took up the electric guitar as a young man and started out playing the blues.  Soon afterwards, he gave up the blues to serve the Lord.  He developed a highly potent style and often played on church programs with the legendary Rev. Utah Smith.  He subsequently recorded a string of incredible and legendary 45s for Booker Records out of New Orleans.

After the Booker material went out-of-print, Rev. Jackson took matters into his own hands and started his own private press label, Jackson Records, in the late ‘70s.  This 45 is Jackson 101 and it features a re-recording of “Wrapped Up and Tangled Up in Jesus,” one of his most popular numbers that had been previously released on Booker, backed by the previously unrecorded “Lord You’re So Good,” a deep and measured ballad.

This version of “Wrapped Up…” has not been reissued in any form.  Since Rev. Jackson sold these records exclusively at church services, they never entered the marketplace and therefore didn’t receive any other distribution.

Each side plays with relatively low but steady background crackle as well as the occasional pop which decreases in frequency a bit as the side progresses, probably reflection on the quality of the pressing.  Generally speaking, these are quite clean copies, but there may be occasional minor idiosyncrasies in label and vinyl.  Limited stock, of course. 2 copy limit per customer.

I was born in a den
raised by a bear
I got 4 sets of jaw teeth
and 7 sets of hair
– McKinley James

McKinley James was a blues musician who was born in Macon, Georgia, in 1935 and raised in Macon County, Alabama. He cut only two 45s and this is a reissue of his first one that came out on the custom Tomahawk label out of Columbus, Georgia. (good luck finding that one) “Tuskegee Boogie” saunters along at an easygoing pace, punctuated by harmonica and some nice and dirty slide guitar, telling the tale of the local sheriff, Lucious Amerson (kin to Richard Amerson, I wonder?), who was the first black sheriff in town and apparently had a bit of a hard-on for people going around publicly intoxicated. A local record through and through, the flipside is an upbeat number derived from the regional repertoire (see Albert Macon & Robert Thomas, among others) that features those snappy (original?) lyrics quoted above.

These tracks have appeared on a few compilations but seem more at home on 45. I’ve been a big fan of this record for several years so when I had the good fortune to find the remaining copies of this reissue (which has been out of circulation for 20+ years), they were all scooped forthwith. They show some storage warp, but should play fine. If not, holler at me and we'll fix it. Finite stock. Learn more about McKinley James here.

"Long awaited follow up to the ‘True Story of Abner Jay’ LP. Abner Jay was a man who had a grand sweeping vision of what folk music was. In his lifetime his expression of what folk music could be encompassed some serious stylistic variations. Sometimes he was a one man band traveling troubadour playing an electric banjo, harmonica, & drums who tried to hoodwink audiences into believing that he was 150 years old & the standard bearer for authentic Americana. Sometimes he played in electric straight up R&B bands such as ‘Koko Joe & the Jobhunters’. Sometimes he claimed to be the ‘black Bob Dylan’ strumming an acoustic guitar & singing socially conscious urban folk. On this LP we find Abner in all of these modes & more. (He also does a pop song about a submarine disaster & a beautiful gospel song)

"Culled from a mix of Abner’s 45s & LPs spanning the period 1964-1973, including Abner’s first long lost LP, which we reproduced the cover image for this LP from. We hope that this release will help to further the current wave of understanding that Abner Jay is an important artist who deserves a wider audience than he ever received during his lifetime. Comes with a self-promotional pamphlet penned by Abner & a color photo of Abner. Housed in an old school tip on sleeve. We are very proud to get this incredibly hard to find material out into the world." – Mississippi

“Darius Jones is an extraordinarily gifted young alto saxophonist and composer; Man’ish Boy (A Raw & Beautiful Thing) is his remarkable debut as a leader. Jones joined the New York music community in 2005, after living and studying in Richmond, VA. In his short time here, he has amazed and inspired musicians and audiences from widely divergent backgrounds with his meticulously honed musical gifts. Soul-power is at his foundation; forward looking expression always at the fore. Some bands Jones currently works with are the Cooper-Moore Trio, Mike Pride’s From Bacteria to Boys, William Hooker’s Bliss (East), and Trevor Dunn’s Proof Readers. Jones also has a band with Travis LaPlante, Andrew Smiley, and Jason Nazary called Little Women.

“Man’ish Boy is a deeply personal work that found Jones meditating on his life growing up in the south: not an easy life, but one suffused with familial love, hard work and self-assurance. His experiences in church, particularly hearing gospel choirs – the ecstatic combination of powerful individual voices coming together to create something greater – were a deep inspiration for this project. An abiding respect for elders and the breadth of life experience they bring led Jones to ask master musicians Cooper-Moore (piano, diddley-bo) and Rakalam Bob Moses (drums) to be part of this project. Jones first met Moses at a performance while still in Virginia, and they have had a close relationship ever since. Jones joined forces with Cooper-Moore, a fellow Virginian and churchgoer as a youth, after moving to NYC. Cooper-Moore was asked specifically to also play diddley-bo here: a one-wire stringed instrument with roots in the deep south via Africa; with it, he most definitely brings the organic funk.” – AUM Fidelity

Darius Jones: alto saxophone
Cooper-Moore: piano, diddley-bo
Rakalam Bob Moses: drums

Fantastic new publication, possibly even a wee bit intimidating. “Louisiana Music #1 (Spring 2010), written and edited by Lyle Ferbrache and Andrew Brown. 

“Louisiana Music is a new magazine devoted to historical perspectives on the musical legend and lore of the Pelican State. Our debut issue is devoted entirely to the story of one of Cajun music's most revered, but least documented bands – Nathan Abshire and the Pine Grove Boys. Focused on the years 1940 to 1954, the saga of the original Pine Grove Boys unfolded against the tumultuous backdrop of World War II and the enormous cultural upheaval of the immediate postwar years. In this context, traditional music styles seemed endangered, but the regional hit status of Abshire’s ‘Pine Grove Blues’ in 1949 helped signal the return of the ‘French’ accordion to the dance halls, airwaves, and jukeboxes of South Louisiana. More records followed, but inner tensions within the band exploded into a violent climax in 1954. The full story has never been told – until now. 

“Four years of research, based on numerous interviews, has resulted in the most thorough documentation of any Cajun band of the era. The story is adorned by 53 photos and illustrations, most previously unpublished, and, for the first time, a full discography of Nathan Abshire and the Pine Grove Boys’ 1949 to 1958 recordings. 

“Louisiana Music #1 is 56 pages printed on high quality matte paper, with record labels in full color.” – Pine Grove Press

In the 1950s, Jerry “Boogie” McCain cut a batch of great singles for Excello and Trumpet that established his reputation as a great singer and harmonica player as well as an exceptionally hip, clever songwriter. This series of five 45s on Norton spotlights the 1955 demos he recorded prior to going to Excello and they’re pretty hard to beat for raw, raucous party music. An in-depth look at Mr. McCain is here: http://www.bluesworld.com/JerryMcCain.html

Geronimo!: http://www.youtube.com/watch?v=FcZK8otg9LY

Wild-ass guitar/harmonica throwdown recorded by George Mitchell in 1967. Can’t be beat. 180 gram pressing.

“’I call what I play Free Music because I want to be free to render my work in any way I feel necessary to express my feelings and ideas. Today on Earth is quartet music that emphasizes the groove; some folk-like melodies mixed in with some other things. My colleagues here, Jim Hobbs, Timo Shanko and Luther Gray are as strong and expressive as any players ever when it comes to dealing with this kind of material. I’m lucky to be able to work with them. The title of this recording suggests the idea that is at the core of my artistic goals; a reminder to have a simple instant of realization, a second of reflection about our lives standing on this planet floating in the universe.’ – Joe Morris

“Simultaneous to having achieved a strong measure of well-deserved acclaim for his ascendant work on upright bass (most recently on the release of Wildlife (AUM Fidelity), Joe Morris has kept his incomparable and singular voice on the guitar in highly notable flex mode in on both a 4xCD set of improvised duos with Anthony Braxton and on the David S. Ware release, Shakti (AUM Fidelity). Here Morris brings the guitar again full fore with his blessed Quartet on a brand new set of indelibly melodic tunes that are rendered with deep swing and profound essence of joy. Joining him in doing so are alto saxophonist Jim Hobbs and bassist Timo Shanko (both of The Fully Celebrated) as well as further long-time associate, drummer Luther Gray.” – AUM Fidelity

Joe Morris: guitar
Jim Hobbs: alto saxophone
Timo Shanko: bass
Luther Gray: drums

“Examples on record of Sunny Murray’s enduring originality & influence as a drummer are many, but very few recordings demonstrate his strikingly unusual voice as a band leader & composer. None do so more spectacularly than his 1969 album “Big Chief”. Unfortunately it’s been a sick collector's item since long before Ebay. So it is with great pride & satisfaction that Eremite returns to our friends in the human clan this long unavailable masterpiece. The group assembled for this Parisian studio date includes musicians from France, South Africa, Jamaica, & the USA, & the huge sweeping sound they conjure while absolutely NAILING Murray’s highly irregular compositional structures is as thrilling as free jazz gets. Hart le Roy Bibbs appears once only in a wildly memorable turn. Everywhere & thru-out, Murray uses the instrumentation’s orchestral range to explore his fascination with the far extremes of the frequency range. Prepare your hearing for searing high-end burn! The record resolves beautifully in a performance of ‘This Nearly was Mine’ that manages to be both otherworldly & poignant.

“Not only is ‘Big Chief’ one of Murray’s great achievements, it’s one of the truly special recordings in free jazz history. Seriously. There is no greater love. The music was fastidiously remastered from the best available sources by Mike King, pressed on premium HQ-180 gram vinyl by RTI, & presented in a heavyweight Stoughton replica sleeve in an edition of 600. PROJECT PRODUCED WITH THE ARTIST'S FULL PERMISSION & COOPERATION.”

Sunny Murray: drums
Ronnie Beer: alto saxophone
H. le Roy Bibbs: vocals
Becky Friend: flute
Beb Guerin: bass
Francois Tusques: piano
Alan Silva: viola, violin
Kenneth Terroade: tenor saxophone
Bernard Vitet: trumpet

“This concert was originally dedicated to Jimi Hendrix, & performed on the day of his death. Originally produced & issued by Charles ‘Bobo’ Shaw himself, ‘Red, Black & Green’, by the band ‘Solidarity Unit, Inc.’ documents what happened at ‘The BAG Room’ in St. Louis, MO, the day Jimi Hendrix died. Captured in a gloriously blunt & low-res recording that is as stark as the b&w cover art, Shaw & the ten-piece group produce a raw, teeming, clattering sound that never relinquishes. Lake & Bowie were by this time already powerful soloists, & both declaim fervently & damn near relentlessly over Shaw’s swaggering themes. Dead at age 34 & recorded just four times, guitarist Richard Martin’s performance is a true revelation; as Martin leaps from blues idioms to screaming attacks to pure howling feedback, one wonders if even Sonny Sharrock reached these places with the instrument. Furious kit & hand drumming, violently rattling little instruments, jabbing percussive Rhodes, thundering bass guitar, these guys don’t hold back! Easy to say ‘lost underground free jazz classic,’ but that’s the real story here.
“The music was remastered from the best available sources by Mike King, pressed on premium HQ-180 gram vinyl by RTI, & presented in a heavyweight Stoughton replica sleeve in an edition of 600. PROJECT PRODUCED WITH THE ARTIST'S FULL PERMISSION & COOPERATION. For more on BAG: http://press.umsystem.edu/fall2004/looker.htm “

Charles Wesley Shaw, Jr. "Bobo" percussions
Richard Martin: guitar
Oliver Lake: alto saxophone, flute
Floyd Leflore: trumpet
Joseph Bowie: trombone
Carl Richardson: bass
Clovis Bordeaux: piano
Danny Trice: conga drums
Baikida Yaseen: trumpet
Kada Kayan: bass

“Norton recently took a rocket ride into the vaults of El Saturn Research and arrived back on Earth with a motherlode of unissued early R&B, doo wop, soul and general weirdness featuring Sun Ra and his Arkestra backing a variety of artists. This series consists of two albums of Doo Wop from Saturn and Beyond entitled Interplanetary Melodies and The Second Stop Is Jupiter plus a set of totally twisted sides called Rocket Ship Rock featuring Yochanan ‘The Outer Space Vocalist’ (with his demented Saturn 45 Muck Muck/Hot Skillet Momma) and his way out friends backed by Sun Ra and his Arkestra! Atomic outer space genius from yet another Norton turban headed star!” – Norton

Track listing:
Cosmic Rays – Daddy’s Gonna Tell You No Lie
Cosmic Rays – Dreaming
Cosmic Rays – Bye Bye
Cosmic Rays – Somebody’s in Love
Cosmic Rays – Summertime
Crystals – Honey in the Bee Box
Nu Sounds – Spaceship Lullaby
Nu Sounds – I’m Through with You
Nu Sounds – Africa
Nu Sounds – Dabba Dabba Dabba Du Bay
Qualities – It’s Christmas Time
Qualities – If Only I Hadn’t Sinned
Juanita Rogers – Love Letters Full of Promises
Juanita Rogers and Lynn Hollings – Teenager’s Letter of Promises
Sun Ra – Tony’s Wife

“Norton recently took a rocket ride into the vaults of El Saturn Research and arrived back on Earth with a motherlode of unissued early R&B, doo wop, soul and general weirdness featuring Sun Ra and his Arkestra backing a variety of artists. This series consists of two albums of Doo Wop from Saturn and Beyond entitled Interplanetary Melodies and The Second Stop Is Jupiter plus a set of totally twisted sides called Rocket Ship Rock featuring Yochanan ‘The Outer Space Vocalist’ (with his demented Saturn 45 Muck Muck/Hot Skillet Momma) and his way out friends backed by Sun Ra and his Arkestra! Atomic outer space genius from yet another Norton turban headed star!” – Norton

Track listing:
Cosmic Rays – Somebody’s in Love
Cosmic Rays – Daddy’s Gonna Tell You No Lie
Cosmic Rays – Dreaming
Cosmic Rays – There’s a Small Hotel
Cosmic Rays – The Second Stop is Jupiter
Nu Sounds – Spaceship Ullaby
Nu Sounds – Honeysuckle Rose
Nu Sounds – Baby Won’t You Please Be Mine
Nu Sounds – Black Sky and Blue Moon
Nu Sounds – Dreams Come True
Qualities – Happy New Year to You!
Qualities – She’s My Moonglow
Crystals – Little Sally Walker
Juanita Rogers – I’m So Glad You Love Me
Juanita Rogers – I’m So Glad You Love Me
Sun Ra – Stuff Like That There

I do believe the late great Nathaniel Mayer might’ve referred to the rough-and-tumble R&B numbers on this record as “raggely”. It’s largely comprised of late ‘50s recordings of Sun Ra collaborating with another eccentric visionary – Yochanan, the Space Age Vocalist. Miriam Linna describes the Muck Muck as “a wailing opus that makes Screamin’ Jay Hawkins sound like a milquetoast Mantovani.” Indeed, the muck muck muck will cook your duck! Not to be outdone, a singer known as Ebah howls through an epic “I Am Gonna Unmask the Batman” at what sounds like the tail end of one of Sunny’s 36-hour rehearsals.

Track listing:
Yochanan – Muck Muck
Yochanan – Hot Skillet Momma
Yochanan – Rocket Ship Rock
Yochanan – Is That Me?
Yochanan – Hot Skillet Momma
Yochanan – Muck Muck
Yochanan – The Sun Man Speaks
Yochanan – Message to Earthman #1
Yochanan – Message to Earthman #2
Little Mack – Tell Her to Come on Home
Lacy Gibson – I am Gonna Unmask the Batman
Ebah – I am Gonna Unmask the Batman
Don (Dino) Dean – Space Stroll

“By 1962, American pianist Cecil Taylor had been at the fringes of the jazz establishment for several years. His angular, percussive attack and unconventional harmonic sense bred controversy among players and listeners alike and proved at odds with most rhythm sections. While embraced by progressive critics--even voted ‘new star’ by Down Beat--Taylor passed most of that year with few gigs and many hours of work as a dishwasher to show for it. At least, he has said, he knew why he was washing dishes: a personal decision following the death of his father in 1961 to be faithful to his own artistic vision at all costs. This commitment, combined with an intensely creative gestation period during which Taylor's Unit firmly meshed, led to his decisive break through the last barrier hindering his musical voice: the barline.

Cecil Taylor: piano
Jimmy Lyons: alto saxophone
Sunny Murray: drums

Seemingly the Revenant label’s final salvo and it’s a doozy. Described by the label as “Revenants. Phantoms. Biographical ciphers who emerged from their anonymous dark, made 78rpm recordings, and were promptly swallowed up by darkness again. Yet their recordings have made an indelible place for themselves in our world by dint of their capacity to inspire wonder.”

Curated by John Fahey, this double disc offers eerily beautiful music from Geeshie Wiley & Elvie Thomas, Bayless Rose (see 78 Quarterly #12 and hear http://www.youtube.com/watch?v=gIT3rpOakcQ), and Henry Spaulding’s deathless “Cairo Blues”. There’s also ragged visionaries such as Tommy Settlers and his discombobulating “Big Bed Bug.” If you ever wanted a collection that’ll confirm that your efforts to “make sense of it all” are a fool’s errand, look no further. Screened covers, 40 page booklet.

“Over a three year period in the late 1990s, Charlie Brooks embarked on two long field recording trips in Madagasikara. Brooks primarily concentrated on the more remote north and west regions of the island. Upon his return in 1999 he pressed 200 copies of a triple record and stored them under his bed for the last ten years. The three themed LPs: Vocal, Valiha Marovany, and Miscellaneous Instruments were released as the now out of print MR-061 Fihavanana. This single LP collection compiles seventeen tracks from Fihavanana. Comes with a twelve page booklet of photography and notes.” – Mississippi

An enjoyably diverse set of African-American gospel music from the late 1940s-early 1950s, edited by Chris Strachwitz. Some truly beautiful music here. Among my favorites are the infectious, uplifting numbers by the Bells of Joy, Archie Brownlee and Purcell Perkins trading leads on “All Aboard,” and Bessie Griffin’s stirring “Too Close,” recorded live-in-the-church.

Track listing:
Bessie Griffin – Too Close, Part 1
Nightingale Jubilaires – A Dying Veteran’s Plea
Madame Ernestine – While the Blood Runs Warm
Madame Ernestine – I’ll Never Turn Back
Davis Sisters – Bye and Bye, Part 1
Angelic Gospel Singers – Back to the Dust
Original Five Blind Boys – All Aboard
Five Blind Boys (Jackson Harmoneers) – He’s My Rock
Original Five Blind Boys – Thinking of God’s Goodness
Angelic Gospel Singers – Touch Me, Lord Jesus
Angelic Gospel Singers / Dixie Hummingbirds – Dear Lord, Look Down Upon Me
Dixiaires – Joe Louis is a Fightin’ Man
Bells of Joy – Stop Right Now (It’s Praying Time)
Bells of Joy – I’ll Work Lord
Bells of Joy – Since Jesus Changed this Heart of Mine
Zion Travelers – If I Could Hear My Mother Pray Again
Christland Singers – Someday, Somewhere
Bessie Griffin – Too Close, Part 2

An outstanding collection of recordings made by Chris Strachwitz of Arhoolie Records in 1969. This record holds a special place in my heart since it was the first place I heard Mississippi fife-and-drum music. When Napolian Strickland let loose with his holler around a minute into the opening track, it set my course for many unforgettable times down south. Furthermore, this record gives you Mississippi Fred McDowell and Johnny Woods tearing it up, Furry Lewis spinning lovely musical yarns, and three beautiful guitar duos from an incognito John Fahey and Bill Barth (as R.L. Watson and Josiah Jones).

Track listing:
Napolian Strickland – Back Water Rising
Mississippi Fred McDowell & Johnny Woods – Shake ‘em on Down
Mississippi Fred McDowell & Johnny Woods – Fred’s Blues
Mississippi Fred McDowell & Johnny Woods – Keep Your Lamp Trimmed and Burning
Otha Turner – Otha’s Piece
Napolian Strickland – Shimmy She Wobble
Furry Lewis – Walking Blues
Furry Lewis – Judge Bushay Blues
R.L. Watson & Josiah Jones (John Fahey and Bill Barth) – Memphis Rag
R.L. Watson & Josiah Jones (John Fahey and Bill Barth) – St. Louis Blues
R.L. Watson & Josiah Jones (John Fahey and Bill Barth) – Praying on the Old Campgrounds & Lonesome Blues

Been getting bitten pretty hard by the Cajun bug lately and no I don’t mean crawfish. Among the first tunes from the genre to really grab me were the weepers. In that spirit, while the accordion is ostensibly the focus on this album, the deeply expressive singing is what keeps me coming back – such yearning. One of the great practitioners of the form was Amede Ardoin, who is well-represented on this collection: http://npmusic.org/Amede_Ardoin_and_Dennis_McGee_Blues_de_Basile.mp3

Track listing:
Joe Falcon – Osson One Step
Amede Breaux – Home Sweet Home
Amede Breaux – T’as Vole Mon Chapeau
Angelas LeJeune – Le Petit One Step
Angelas LeJeune – La Valse de la Veuve
Amede Ardoin – One Step de Oberlin
Amede Ardoin – Blues de Basile
Amede Ardoin – La Valse de Oberlin
Amede Ardoin – Valse de Opelousas
Amede Ardoin – Amede Two Step
Joe Falcon – Madame Sosten
Bixy Guidry – Vien a la Maison Avec Moi
Lawrence Walker – La Valse des Pins
Delin T. Guillory – Stop That
Nathan Abshire – French Blues
Joe Falcon – La Jolie Fille N’en Veut Plus de Moi

“This series of archival 78 transfers was originally released in 1995 on CD only. Now for the first time on vinyl, a deluxe gatefold presentation and limited edition pressings. Produced by Hisham Mayet (Sublime Frequencies) in conjunction with Yazoo Records.

“Compiled here are many of the greatest performances of world and ethnic music ever recorded. This volume represents a trip around the world, stopping at each port to sample one of that country’s finest recordings of its indigenous music. Each of these recordings was captured at a period during the golden age of recording when traditional styles were at their peak of power and emotion. Included inside are extensive notes and beautiful period photographs that work together with the music to communicate an exciting sense of discovery.” “One of the most consistently rewarding world music compilations in years, the cuts range from Macedonian fiddle jaunts to Puerto Rican Christmas tunes, from Abyssinian religious chants to ominous Japanese court music. The instruments include Ukrainian sleigh bells, Sardinian triple pipes, Vietnamese moon lutes and Ethiopian one-string violins...a profound artistry lurks beneath the alien vernaculars.” -- Village Voice; Vol. 1 contains music from Nigeria, Sardinia, Russia, Ceylon, Rajahstan, Cuba, Rumania, Vietnam, Macedonia, Morocco, and more. – Mississippi