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About mmcgerr

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  • Birthday 01/15/1955

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  1. Cootie Williams in Hi-Fi

    I have the right issue. The bonus tracks are an R&B-ish date with Wini Brown from 1957. As my friend JazzTrain would say, they're not essential.
  2. What Got You Into West Coast Jazz?

    Two things in particular: the Shorty Rogers Mosaic set & Ted Gioia's book West Coast Jazz.
  3. Sir Colin Davis has died

    Love his Sibelius symphonies, Mozart operas, and the Harold in Italy with Menuhin
  4. Volume 9, "Piano Music," of the Complete Mozart Edition on Philips includes 5 discs of sonatas--all 18 by Uchida, along with her recording of the Fantasia in C Minor. There is also a sixth cd of Uchida playing various short pieces: a couple of rondos, a fantasia, a minuet, etc.
  5. Thanks for sharing the obituary. I admire Leonard's book, which was before its time in a number of ways. That must have been an interesting undergrad course!
  6. According to Jos Willems' Armstrong discography,All of Me, there were only two issued takes of "Wrap Your Troubles in Dreams." The uncommon take--take 2--is available on the first Neatwork cd of Armstrong alternate takes (RP2020) as well as the Fremeaux series.
  7. A truly great historian and writer. His books helped shape my life.
  8. Question re Amazon UK and shipping

    I find this site very helpful for comparing all the Amazon sites' prices, including shipping:
  9. I bought the Fitzgerald set and have this problem, which is not with the booklet but with the cds. Disc 3, track 20, wrongly plays "Wacky Dust." Disc 11, track 4 plays "Oops." Track 7 is "Baby Doll." Track 8 is "What Does It Take." Track 10 is "Two Little Men." So there are some tracks that appear twice on the set and some tracks that are, as a result, omitted. I've written to to see if I can get the discs replaced.
  10. As an academic myself (though not a writer on music), I certainly agree that academic writing on jazz, reflecting broader trends in the humanities, can offer some trivial observations couched in easily-parodied jargon. Too, a number of academic writers on jazz haven’t heard enough of the music. And many academics of all stripes don’t do enough to live up fully to the privileges of academic freedom. But this discussion, in turn, seems to trivialize academics’ role in jazz. The music is, if not a dying art, a declining art. In various ways, including sometimes jejune articles and books, academia is helping to keep the music on life support, whether it is by giving musicians support and another forum (I think of David Baker at Indiana University), publishing books on jazz, sponsoring research, or offering classes on the music. I assume the book that inspired this thread is Charles Hersch’s Subversive Sounds: Race and the Birth of Jazz. I don’t know Prof. Hersch and I haven’t read his book. But a cursory look at it on Amazon indicates that it is more than the couple of sentences about Louis Armstrong’s fascination with Swiss Kriss. As the title of the book suggests, Hersch seems to be arguing that in more ways than we typically recognize, jazz at its origins was a subversive force, well outside the cultural mainstream in a number of ways. Not a stunningly original argument, but a serious one, and not ignorant, either. More strikingly, Hersch argues against the now-received wisdom that jazz originated around the country rather than uniquely in New Orleans. He may well be wrong, but that is an interesting argument worthy of real discussion. Whether or not Hersch’s book is compelling, there is plenty of worthwhile recent academic writing about jazz. On the subject of Louis Armstrong, I have particularly enjoyed Brian Harker’s new book on the Hot Five and Hot Seven records—a fresh effort to explain the particular nature of Armstrong’s innovations. Harker’s book is part of a new series from Oxford University Press, which includes Keith Waters’ study of the records of the Miles Davis Quintet, 1965-1968 (lots of musicology, and no troubling bodily functions). Then there is Jeffrey Magee’s book on Fletcher Henderson—and so on. I think the music we all love has a better chance of surviving if we avoid stereotypes and try to highlight what’s interesting and exciting as well as what strikes us as absurd.
  11. Ellington JSP - vol 1

    Thanks for the clarification. I haven't seen a published analysis of the takes on the JSP set, one that would do the work for you. The DEMS newsletter, also available on, doesn't seem to have worked through the takes on the JSP, as it does with many Ellington issues. Perhaps you might want to use the "Sessions" listing to identify the sides on the JSP whose take numbers are in doubt, and then a/b those with the sound files of the different takes available at
  12. Ellington JSP - vol 1

    If you don't have one of the printed discographies (Duke Ellington's Story on Records, Rust, etc.), perhaps the quickest way to see what is and isn't on the JPS set is by comparing the track listing with the "Sessions" listing at JSP seems to have eliminated alternate takes and a few master or issued takes (though which takes actually are included is another matter). So this first volume gives you one take each of nearly everything Ellington waxed in the first years of his recording career.
  13. Thanks. I understand that, but it seems on this board that people use the term mainly to refer to the direct copying of lps by gray market companies. If the implication in this particular thread (not your comment) is that Mosaic would have used metal parts while Davies did not, in order to reissue the Boswell material, it's not clear to me that the metal parts exist.