JamesAHarrod

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  1. Miles at the Haig

    The primary jazz fan who was actively recording jazz groups in the clubs around this time was Bob Andrews. I believe that he had tacit approval from the owners and did so without concealment or hiding his activity. Dick Bock was the gate keeper at this time and most likely granted permission or approval of this activity.
  2. I am reading the recently published autobiography of Walter Hopps, The Dream Colony. Hopps died in 2005 and had been working on the book for several years. Much of that work consisted of audio tapes of Hopps recalling his life. Thanks to those tapes the editors of the book, Deborah Treisman and Anne Doran, have pieced togther a narrative that I am enjoying immensely. Hopps spent some time in Laguna Beach and some of his relatives figured prominanetly in the history of Laguna Beach. His great-great-uncle, Harry Woods, built a Tudor style ocean front manse that was sold to Bette Davis when the Woods family died out. The area is still known today as Woods Cove. Hopps was an avid jazz fan and regularly visited clubs to hear Billie Holiday, Charlie Parker, Gerry Mulligan, Dave Brubeck, Paul Desmond, etc. In December of 1953 Hopps and Jerry Perenchio presented a concert at UCLA that featured the Lighthouse All Stars, Shorty Rogers Giants, The Dave Pell Quartet, Don Ewell, Barney Kessel, John Graas Modern Jazz Ensemble, and the Chet Baker Quartet. William Claxton mounted an exhibition of his jazz photography in conjunction with the concert. Later in the 1950s and early 1960s Claxton became part of the west coast art scene when Hopps and Edward Kienholz founded the Ferus Gallery. He double dated with Chet Baker and recalled one night at the Haig when Gerry Mulligan stopped the music and told the audience that Miles Davis had just entered the room. According to Hopps Mulligan asked Chet to lend his trumpet to Miles, and Chet sat in the audience while Gerry and Miles completed the set. Hopps does not date the event but stated that shortly after that Gerry spent several months at the Honor Farm in Castaic. At the recent Los Angeles Jazz Institute event Ken Poston presented a survey of Gerry Mulligan’s time in California. The audio clips that Ken played for the audience included some recently discovered/acquired tapes of the Mulligan Quartet at the Haig. Ken said that some of this music would be part of the LAJI Members Bonus CD that will be available later this year. We can only hope that an avid jazz fan had a tape recorder running when Miles appeared at the Haig, and that it will surface one day. I highly recommend this book to members with an interest in the west coast art scene of the 1950s. The jazz content was an unexpected bonus for me.
  3. Skylark-Tampa

    It has been a few years since I compared the multiple releases of the original master recording of "Big Boy." Scherman manipulated the master recording to produce "M.B.B." - I do not believe that it was ever marketed or released with the abbreviation spelled out as More Big Boy. My original examination can be found at: http://jazzwestcoastresearch.blogspot.com/2012/11/the-first-lighthouse-all-stars.html http://jazzwestcoastresearch.blogspot.com/2012/12/the-first-lighthouse-all-stars.html So the short answer is - same master recording - edited to fit multiple releases by Scherman. I have the Capitol Studios 78 test pressing that was released as Skylark SK 538.
  4. Frank Strazzeri Trio "Live in Sorgue France" Jazzmark 118

    I have the CD. Strazzeri introduces the musicians and refers to the bass player as J. J. Avenel, and the drummer as Joel. Here is the listing at Lord's online TJD: Frank Strazzeri (p) Jean-Jacques Avanel (b) Joel Allouche (d) Straz was another of those neglected jazz pianists who should have a greater following. I believe the correct spelling is Avenel.
  5. Skylark-Tampa

    A while back I noted that Peter Jacobson at VSOP was working on a CD reissue of the Lighthouse All Stars sessions that were originally released as Skylark 78s. It is now available, here is the direct link: http://magnebit.xeran.com/store/page247.html
  6. Shorty Rogers Rendezvous Ballroom 9/27/52

    I did the research to locate the ad used in the liner notes for the initial release of this concert, Lighthouse LAJI006. There was only one concert on September 27, 1952, a Saturday. Shorty had performed at the Rendezvous Ballroom earlier that year on June 17, 1952, for a night to dawn dance for Orange County high school seniors. Shorty's group kicked off the all nighter from 11:00 - 2:00 AM, with the Pied Pipers 1:00 - 1:30 AM, Dan Terry Orchestra 2:00 - 5:00 AM, Jeri Southern 2:30 - 3:00 AM, and Jerry Colomnna 3:00 - 3:30 AM. Alex Cooper, a southland DJ, MC'ed the event. I do not believe this event was recorded. The second CD release of the 09/27/52 concert noted that Bob Enevoldsen also recorded the concert on his wire recorder. LAJI possesses this recording as part of the Bob Enevoldsen archive that was donated to LAJI. I do not believe that Kern Poston has attempted playback of the wire recording. Shorty performed at the Rendezvous Ballroom on Saturday, July 11, 1953, with a 17 piece big band. That concert was recorded by Bob Andrews and the music has made the rounds among collectors over the years. I would be very surprised if the Sounds of Yesterday CD offered any material that has not been previously released.
  7. Russ Freeman - "The Wind"

    I recently updated my review of the various versions of Russ Freeman's "The Wind" that have released by jazz artists around the globe since it was released in 1954 on Chet Baker & Strings, Columbia CL 549. The last version according to Lord's TJD was in 2015 in Japan on Hiroshi Tanaka's Trio Transition. If any members are aware of versions that I have missed I would appreciate hearing from you. I originally assumed that the Slide Hampton version was Freeman's, but recent information on the web credits Hampton with the composition. Here is a link to my post: http://jazzwestcoastresearch.blogspot.com/2017/07/russ-freeman-wind.html
  8. is 50s Discovery records the same as 80s Discovery

    I believe that the only reissue of this material was on CD in 2007 on Sepia. No Savoy reissues on vinyl or CD.
  9. is 50s Discovery records the same as 80s Discovery

    The Discovery masters recorded by Marx for his Discovery Hollywood label were sold to Jack Bergman, Saul Boltin, and Herb Silverman in 1952. The newly established Discovery Records New York continued the line, same label logo, with releases by Art Pepper and others. Herman Lubinsky of Savoy-Regent Records acquired all of the Discovery masters in in 1956. Many of the original Marx masters were repackaged on a variety of Savoy LPs in the mid/late 1950s. When Marx re-established his Discovery label, new logo, releases did not include any of the Discovery Hollywood masters that he no longer owned. Marx reactivated Discovery in 1977 along with Dennis Smith, a former jazz disc jockey. Their initial releases included Jack Wilson's "Innovations", and Joe Pass's "Guitar Interludes." Other scheduled releases for the label included sessions by Bill Henderson, Mike Woffard, Charles Owens, Tommy Vig, Clare Fischer, and Gerald Wilson.
  10. Just scanned the index at the preview on Amazon, curious, no mention of Lord Buckley!
  11. Not jazz per se, but the cover for the World Pacific Henry Jacobs album featured the Watts Towers as well, The Wide Weird World of Shorty Petterstein.
  12. Hello Mike,

    The Lord JD notes Modesto Briseno on the Cal Trader October 7, 1960 session in Hawaii. Did your research confirm this?

     

    Thanks,

     

    Jim Harrod

     

     

  13. Clifford Brown in California

    Ken's recollection is that Shelly Manne suggested Max Roach.
  14. Clifford Brown in California

    The person who might have the answer to that is Ken Poston who interviewed Howard numerous times over several years. I will drop Ken an email and ask if he knows the background on Max's appointment.
  15. Clifford Brown in California

    Taking a stab at answering your question, the jam session in September of 1953 that was recorded by Cecil Spiller and released years later when Ed Michel was working at Fantasy marked a turnover in personnel at the Lighthouse. Shorty Rogers, Jimmy Giuffre, and Shelly Manne departed. My guess is that Shelly was not interested in a regular job that required a long commute from his home in Northridge. At that point in time and for many years, Shelly was THE drummer in demand in Los Angeles. Like his days "chopping wood" for Kenton, keeping time behind Howard Rumsey was a chore. I have made some additions and corrections to the blog. After adding details from the GNP compact disc reissues I realized that I should do the same for the EmArcy sessions.