Unsomnambulist
Staff member
Helicon - This Can Only Lead To Chaos (2020)
What Are You Listening To? February 2020
- Thread starter Unsomnambulist
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Unsomnambulist
Staff member
Fuck Buttons - Street Horrrsing (2008)
Unsomnambulist
Staff member
Courtney Barnett & Kurt Vile - Lotta Sea Lice (2017)
Every time I listen to this, I like it just a bit more than the last time.
Every time I listen to this, I like it just a bit more than the last time.
Ojai Sam
Staff member
Here's last month's scorecard:
www.last.fm
"No one else had Dave Brubeck — Camptown Races as their top track this month. You’re one of a kind!" 
Discover OjaiSam’s listening stats for Last.month
Check out OjaiSam’s month in music on Last.fm
Unsomnambulist
Staff member
Yesterday's listening, based on last week's CD purchasing, mostly at thrift shops:
Yo La Tengo ~ I am Not Afraid of You and I Will Beat Your Ass (2006)
King Crimson ~ In the Court of the Crimson King (1969)
Arcade Fire ~ Funeral (2004)
I have a hard time understanding why anyone would give up these discs!
Unsomnambulist
Staff member
Goon - Heaven Is Humming (2019)
Unsomnambulist
Staff member
Black Mountain - In The Future (2008)
Unsomnambulist
Staff member
Redshift - s/t (2019)
axolotl
Nunquam non paratus
Me too, but I'll be damned if I'm going to let them just sit there, unpurchased by me.
The week prior, I found The Pearl by Harold Budd and Brian Eno. Even though I already had it, I bought it.
Unsomnambulist
Staff member
28th Day - The Complete Recordings (2003)
Ojai Sam
Staff member
Leroy Parkins & The Yazoo River Jazz Band - s/t (Bethlehem 1960)
Vinyl Rip Of The Day.
This rarity popped up in my Bethlehem Records listening project, and I'm glad it did.
Never a household name, John Bernard Letman (September 6, 1917 in McCormick, SC - July 17, 1992 in New York, NY) nevertheless had a long and frequently productive career as a solid and swinging trumpeter. He worked with Gerald Valentine in Illinois, Scat Man Crothers and Jimmy Raschelle in Columbus, OH, and then spent time playing in Chicago with Delbert Bright, Bob Tinsley, Johnny Lang, Nat King Cole (1938), Horace Henderson (1941-1942), Red Saunders (1942), and other local players. After a period living in Detroit (where he worked with Teddy Buckner and John Kirby), Letman settled in New York in 1944 and played with many groups including the Phil Moore Four, Lucky Millinder (1945), Cab Calloway (1947-1949), Milt Buckner, and the Count Basie Orchestra (1951). Letman spent the '50s and '60s mostly working in the studios, on television, and in Broadway shows although he also headed his own combo and recorded occasionally in jazz settings including (during 1958-1960) with Joe Thomas, Stuff Smith, Chubby Jackson, and Panama Francis. Letman freelanced for years, playing with Sam "The Man" Taylor, Eddie Condon, Wilbur De Paris, Claude Hopkins, and many others. He visited Paris in 1968 and made a few recordings (including with Tiny Grimes and Milt Buckner). Letman stayed busy in the '70s, recording (in 1977) with Lionel Hampton, Cozy Cole, and Earl Hines. His New Orleans Blues Serenaders toured Europe during 1985-1986. Letman recorded as a leader in 1959 (four titles with a quartet that includes pianist Dick Wellstood) and Black & Blue (1968 with Hal Singer and Milt Buckner) in addition to participating on many dates as a sideman.
Bassist Ahmed Abdul-Malek was a fixture in New York, recording exotic Middle Eastern-influenced albums under his own name as well as session work with the likes of John Coltrane (the 1961 Village Vanguard set), Thelonious Monk, Earl Hines, Herbie Mann and Art Blakey.
Over a long career, Dick Wellstood played piano with a wide range of artists such as Sidney Bechet, Roy Eldridge, Gene Krupa, Coleman Hawkins, even Bob Dylan and Odetta. "Giant Strides", Edward Meyer's biography of Wellstood, gives the background for this session:
Bethlehem Records wanted to showcase Letman in a Dixieland setting, so they lined up Leroy Parkins' Yazoo River Jazz Band which was enjoying a residency at Harold's House of Dixie in West Orange, New Jersey. Although the band already had John Bucher on cornet, the label forced Parkins to use Letman over the latter's objections.
Riverwalk Jazz (riverwalkjazz.stanford.edu) tells us a lot about Danny Barker:
"In 1909 Danny Barker was born into the aristocratic family of New Orleans music, the Barbarins. His grandfather Isidore Barbarin was an important figure in the great Onward Brass Band, the marching band in which both King Oliver and Louis Armstrong got their start. Barker was a nephew of Paul Barbarin, who taught him to play drums before the young musician decided to specialize on the ukulele. Danny Barker later switched to tenor banjo and guitar and did his first regular work with trumpeter Willie Pajeaud.
In early 1930 when he was 21 years old, Barker moved to New York and toured with Buddy Harris (1933), clarinetist Albert Nicholas (1935), and East Coast stride piano man James P. Johnson. He joined Benny Carter's Big Band in 1938, worked regularly with Cab Calloway from 1939 until Spring 1946, and then left to form a small group to accompany his wife, who recorded under the name, Blue Lu Barker.
Danny Barker was active in freelance work in the late 50s and early 60s. He was a popular choice on record dates with trumpeter Henry 'Red' Allen, reedman Sidney Bechet, vibist Lionel Hampton, bass saxophonist Adrian Rollini and pianist and bandleader Teddy Wilson. Danny led his own ensemble at New York's Cinderella Ballroom and the 8th Wonder.
He moved back to New Orleans in May 1965 and was appointed Assistant to the Curator of the New Orleans Jazz Museum. He played regular gigs in New Orleans and lectured on jazz at several universities. Danny was one of the first musicians in New Orleans to mentor children and get them excited about traditional jazz in an era when rock 'n roll and modern jazz were king. He formed the Fairview Baptist Church Brass Band and helped launch the first New Orleans Jazz Festival. He passed away in 1994 at the age of 85."
on the Sam-O-Meter. Loose, swinging Dixieland Jazz.
Vinyl Rip Of The Day.
This rarity popped up in my Bethlehem Records listening project, and I'm glad it did.
Never a household name, John Bernard Letman (September 6, 1917 in McCormick, SC - July 17, 1992 in New York, NY) nevertheless had a long and frequently productive career as a solid and swinging trumpeter. He worked with Gerald Valentine in Illinois, Scat Man Crothers and Jimmy Raschelle in Columbus, OH, and then spent time playing in Chicago with Delbert Bright, Bob Tinsley, Johnny Lang, Nat King Cole (1938), Horace Henderson (1941-1942), Red Saunders (1942), and other local players. After a period living in Detroit (where he worked with Teddy Buckner and John Kirby), Letman settled in New York in 1944 and played with many groups including the Phil Moore Four, Lucky Millinder (1945), Cab Calloway (1947-1949), Milt Buckner, and the Count Basie Orchestra (1951). Letman spent the '50s and '60s mostly working in the studios, on television, and in Broadway shows although he also headed his own combo and recorded occasionally in jazz settings including (during 1958-1960) with Joe Thomas, Stuff Smith, Chubby Jackson, and Panama Francis. Letman freelanced for years, playing with Sam "The Man" Taylor, Eddie Condon, Wilbur De Paris, Claude Hopkins, and many others. He visited Paris in 1968 and made a few recordings (including with Tiny Grimes and Milt Buckner). Letman stayed busy in the '70s, recording (in 1977) with Lionel Hampton, Cozy Cole, and Earl Hines. His New Orleans Blues Serenaders toured Europe during 1985-1986. Letman recorded as a leader in 1959 (four titles with a quartet that includes pianist Dick Wellstood) and Black & Blue (1968 with Hal Singer and Milt Buckner) in addition to participating on many dates as a sideman.
Bassist Ahmed Abdul-Malek was a fixture in New York, recording exotic Middle Eastern-influenced albums under his own name as well as session work with the likes of John Coltrane (the 1961 Village Vanguard set), Thelonious Monk, Earl Hines, Herbie Mann and Art Blakey.
Over a long career, Dick Wellstood played piano with a wide range of artists such as Sidney Bechet, Roy Eldridge, Gene Krupa, Coleman Hawkins, even Bob Dylan and Odetta. "Giant Strides", Edward Meyer's biography of Wellstood, gives the background for this session:
Bethlehem Records wanted to showcase Letman in a Dixieland setting, so they lined up Leroy Parkins' Yazoo River Jazz Band which was enjoying a residency at Harold's House of Dixie in West Orange, New Jersey. Although the band already had John Bucher on cornet, the label forced Parkins to use Letman over the latter's objections.
Riverwalk Jazz (riverwalkjazz.stanford.edu) tells us a lot about Danny Barker:
"In 1909 Danny Barker was born into the aristocratic family of New Orleans music, the Barbarins. His grandfather Isidore Barbarin was an important figure in the great Onward Brass Band, the marching band in which both King Oliver and Louis Armstrong got their start. Barker was a nephew of Paul Barbarin, who taught him to play drums before the young musician decided to specialize on the ukulele. Danny Barker later switched to tenor banjo and guitar and did his first regular work with trumpeter Willie Pajeaud.
In early 1930 when he was 21 years old, Barker moved to New York and toured with Buddy Harris (1933), clarinetist Albert Nicholas (1935), and East Coast stride piano man James P. Johnson. He joined Benny Carter's Big Band in 1938, worked regularly with Cab Calloway from 1939 until Spring 1946, and then left to form a small group to accompany his wife, who recorded under the name, Blue Lu Barker.
Danny Barker was active in freelance work in the late 50s and early 60s. He was a popular choice on record dates with trumpeter Henry 'Red' Allen, reedman Sidney Bechet, vibist Lionel Hampton, bass saxophonist Adrian Rollini and pianist and bandleader Teddy Wilson. Danny led his own ensemble at New York's Cinderella Ballroom and the 8th Wonder.
He moved back to New Orleans in May 1965 and was appointed Assistant to the Curator of the New Orleans Jazz Museum. He played regular gigs in New Orleans and lectured on jazz at several universities. Danny was one of the first musicians in New Orleans to mentor children and get them excited about traditional jazz in an era when rock 'n roll and modern jazz were king. He formed the Fairview Baptist Church Brass Band and helped launch the first New Orleans Jazz Festival. He passed away in 1994 at the age of 85."
on the Sam-O-Meter. Loose, swinging Dixieland Jazz.
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