Michael Fitzgerald

These tunes are also listed as equivalent in the composition list appendix to Keith Waters and David Diamond's article "Out Front: The Art of Booker Little" in Annual Review of Jazz Studies 11. However, I'm pretty sure that I got the information when I translated Jonathan Kutler's discography of Don Friedman into the database. At that point I don't think I owned Newport Rebels, but I now have a copy (where exactly, is the question) and should be able to listen. Do you have the deposits? Mike

My point was that the local unsigned groups are kind of "padding" the list. Absolutely there are unknown jazz artists, but with Tina Brooks I could at least point to a dozen or more recordings (that have also been reissued) for a significant label as sideman and leader. I also see now that the 1289 includes Taj Mahal - with this note: "Taj's taping policy is this: No recording of any live performance with out written permission." So gimme a break - *that's* allowing taping? And then elsewhere there's stuff like this: "For right now I would like our shows to not be recorded because of the sinse of surprise that you get from a live show, I don't want that destroyed. On down the road we will but not right now on our first tour I would rather not. Thanks alot for getting the album and hope to see you at the show." And "They do not allow soundboard or video taping anymore. Audience recording only should be listed on their regulations. Also pre 1997 recordings are not to be circulated/traded per order of the band." So keep reducing that number. I also see things listed with absolutely no supporting documentation. Um - this band allows taping because I say this band allows taping. Mike

As far as I'm concerned, the tip jar is for background music (I know, I know - an insult if ever there was one, but....) - if I'm going out for dinner and there's a pianist playing in the corner - NOT on stage - and I didn't buy a ticket, then a tip jar is perfectly appropriate. I'd certainly hope the guy is getting *something* from the owner, of course. And I have left restaurants after walking in and realizing that there would be live music there. If I'm going to hear something, it's not going to be by accident. Now, before this thread gets visciously yanked back on topic (drugs, India, Tom Jefferson....) may I inquire as to what happened to Tina? Mike

Gee - "reasons outside Scofield's authority" - isn't that exactly what I brought up earlier? And "at the discretion of each venue" - please find me the club or hall that will officially permit taping without compensation, etc. I got no interest in these "jam bands" and I do NOT see them as dragging the rest of the music industry down the road with them. They're a particular hippy trippy corner of the world. Howsabout a list of artists who actually have recording contracts who support this idea? Mike

Can you supply track timings? Any issue date mentioned? Thanks - Mike

Actually whenever I heard Blakey, it was "jazz wipes away the dust of everyday life". Mike

See http://cds.aas.duke.edu/jazzloft/ I can't say 100% but I do not believe Columbia recorded the 1964 Carnegie Hall show. Mike

Columbia recorded no rehearsals. Plenty of big band rehearsals were recorded by Eugene Smith at his loft, both for the 1959 Town Hall concert, for the 1963 Philharmonic Hall concert, and for the 1964 Carnegie Hall concert. Mike

While I'm waiting, here's some info - Discographies list this lineup: Freddie Hubbard, Junior Cook, Cedar Walton, Wayne Dockery, Billy Hayes (listed in Lord) or Billy Higgins (listed in Bruyninckx). I believe the drummer is LOUIS Hayes. This exact lineup played at Slugs' between Christmas and New Year's late 1969. This group (bassist not named) played at Shelly's Manne-Hole April 28-May 10, 1970. So, I believe the recording does NOT come from 1974 (or even 1973 as sometimes listed). A late 1969 or early 1970 date makes sense with the original tunes (Red Clay and The Intrepid Fox were recorded in the studio in January 1970). Only problem is that those were favorites and remained in the repertoire afterwards too. Mike

Swear to God - that's one I *have* heard of - not heard, just heard of.

First of all, that "Bands That Allow Taping" list is real funny. There's a lot of bands listed (1367 to be exact) and some of them do NOT allow taping (like Mose Allison), so I think that knocks it down to 1318 and then if you only show active bands it's down to 1289. BUT - has anyone HEARD of these bands? Now, I'm not the most with-it hepcat but it looks to me like these are a bunch of local unknowns. Definitely not all - by no stretch - but a LARGE portion of the list. Next - "It is not stealing if the artists condone it" I have serious reservations about that statement. The artists may be all free and easy about things, but what about their label? what about their management? what about the club/hall? etc. etc. Also - what about the composers of the tunes? and the publishing companies? Certainly SOME artists might be in a position to present an unequivocal legal position on this, but I would say a LARGE number would not. Mike

I could swear that there was discussion of these two items (album titles "Hot Horn"/"Intrepid Fox" and "Extended") here before, but search is coming up with nothing. Would like to get discographical details on this material. (e.g., "Freddie's Tune" - come on, what is it really??) Thanks! Mike

Well, THE David Baker the late engineer. Not David N. Baker the composer, educator, author, trombonist, cellist. Mike

The impulse! propaganda I received says: "The 1965 Half Note recordings, taken from late-night radio broadcasts and until now available only as inferior-quality bootlegs, have long had legendary status among aficionados - especially the extended performance of 'One Down, One Up,' regarded by many as one of Coltrane's greatest recorded improvisations." So, they're using the collectors to bolster the music's reputation, but they're slapping them in the face by issuing only PART of what the 'aficionados' elevated to legendary status. And if I interpret this correctly, the new set is still aircheck sourced, not linecheck (and I believe there is no pre-broadcast source on these). But I won't put money on that. Mike

Norfolk. The one that they get consistently wrong is the Town Casino. It was not in Rochester, but was in Buffalo, NY. Mike

Perhaps Bruce, but indirectly only because I really don't think that all the shock comics out there have bothered to go back to him. If they go back to anyone they deal with Pryor, Carlin, and Williams rather than the source. Mike

Next - I already know that Cedar Walton's tune "Ugetsu" (first done with Art Blakey) has been recorded under the title of "Fantasy In D". Can someone confirm that the title track of Freddie Hubbard's CTI album "Polar AC" is the same piece? That's what Doug Payne's CTI discography says. There's a version of Ugetsu issued as a bonus track on the CD of First Light. Is this the same performance issued as Polar AC?? I can confirm that this definitely is the Walton tune, played at a slower tempo than is customary. Who is credited as composer for this tune on the Polar AC LP. The dreaded allmusic site says Chris Kenner (the New Orleans R&B guy?). The BMI database seems to be unavailable. Payne says "Polar AC (aka Fantasy In D)" by Walton. Thanks! Mike

I have to disagree - the show almost never showed the artists in the best light, the host(s) were uncharismatic, the brief interviews were uncomfortable. Beginning in the second season, things got cut back in terms of time and it just became a perfunctory one-after-the-other set of 4- or 5-minute spots. When it started, there was a chance that it would be something better than simply an entire show filled with "Tonight Show"- or "SNL"-style music appearances. The wasted opportunities got me so frustrated. But don't ask me what the greatest TV music show was. Mike

Can I predict the phrase "David Who?" will follow soon thereafter? Either that or you have impressively hip cocktail parties. Mike

Yes - see http://home.att.net/~dawild/jcdisc65.htm Mike Sorry - my Yes is to Stefan, not Guy. Not having been in the closet with Ravi, I don't know the source.

There are only four tracks from Mexico City 1967. These are Green Chimneys, Don't Blame Me, Evidence, and the Brubeck blues - this information is in Chris Sheridan's book "Brilliant Corners". The Brandeis set: Misterioso Well, You Needn't Straight No Chaser/Blue Monk I'm Getting Sentimental Over You Epistrophy Evidence Ba-lue Bolivar Ba-lues-are Rhythm-a-ning Epistrophy Mike

Cotton Club location recordings (featuring Cab Calloway) from April 1931 were issued by Bear Family. Mike

Ravi Coltrane may have first encountered the tapes in 1991, but the rest of the Coltrane fans and scholars have known about this stuff for ages (it's been issued on bootlegs) - and in more complete form. Are we getting shafted with an incomplete release because that's all that was in the closet?? Mike

For all those Riverside completists (who already own all the car racing albums), Nye had a record on Riverside - never heard it myself. http://www.houg.com/store/LP_Comedy/Louis_...son_Avenue.html Mike

Some or all of this was/is available from Philology in Italy. Mike