chazzer95

That's a milestone indeed. I have the 27-tracks-LP-twofer from the Swedish "Jazz Society" label (AA 520/521) with beautiful pictures (Jack Towers), and informative liners by Eddie Lambert. The sound is superb, and the only pity is, that Cootie had left the band short before these recordings were made. http://jazz.com/encyclopedia/williams-cootie-charles-melvin How many tracks are on the CD's? I had a very cheap bootleg once, with some more tracks from that evening (remember a bass feature on "A Train"). But the sound was lower than low-fi, and so I sold it. there is no "a train" on the fargo session. my two cds on the swiss (?) "milan" label has 50 tracks. some are fragments (under 10 seconds) and 6 "chaser" of only a few seconds and one "unknown title" (9 seconds) only. it seems that this milan issue came direct from the vintage jazz classics. sound is excellent! keep boppin´ marcel Yep, no "A Train" goin' nowhere there, you're so right, brother! Saxpet

That's a milestone indeed. I have the 27-tracks-LP-twofer from the Swedish "Jazz Society" label (AA 520/521) with beautiful pictures (Jack Towers), and informative liners by Eddie Lambert. The sound is superb, and the only pity is, that Cootie had left the band short before these recordings were made. http://jazz.com/encyclopedia/williams-cootie-charles-melvin How many tracks are on the CD's? I had a very cheap bootleg once, with some more tracks from that evening (remember a bass feature on "A Train"). But the sound was lower than low-fi, and so I sold it.

, and it is on the LP "The Many Facets ...", the duet with Andrew Simpkins. Thanks for hinting me to this. Saxpet

He also recorded the tune in a duet with bassist Andy Simpkins on an MPS album called , The Many Facets Of George Shearing . This may well be it , but I don't have the album to confirm it . So, that could be the one. Thanks, Chas. I will look for the LP. ... and the more I listen to this track, the more I'm convinced that it IS indeed George Shearing. I ordered the LP yesterday. I found it neither at amazon nor eBay, and I guess it has not been issued on CD yet. I wished though, it had another cover. Not this here ... ... rather this one:

I looked up the song (Here, There and Everywhere) on ASCAP's web site, and among the artists who had recorded it was pianist David Benoit. A search through Benoit's many albums on his website and on AMG did not pinpoint which recotd it's on, but this could possibly be him. Thanks so far for your answers. Okay, I know the song title now, but it is not David Benoit. I checked it here: http://www.lastfm.de/music/David+Benoit/_/...+and+Everywhere The pianist at my uploaded recording sounds a bit like a disciple of Oscar Peterson. Monty Alexander perhaps? George Shearing played it as a solo ballad on his album "Out Of This World" (1970) ----> http://www.allmusic.com/cg/amg.dll?p=amg&a...10:kxfpxqygld0e Saxpet

Hello, could someone please tell me who is playing here? I thought of George Shearing with Brian Torff at first, but these guys here have more groove. Ray Brown could be the bass player. Please listen here, and then tell me who's playing what: Unknown duo of piano & bass Thanks, Saxpet

Buddy DeFranco, John Potaker, Sid Block and Alvin Stoller - NYC, late '45. I have a copy somewhere, left by a neighbor who exited via shotgun. I've learned that it's Abe Most on clarinet.

Hello, it's here for listening to it online: Serenade To A Pair Of Nylons as an audio-stream here: Small Band Version Big Band Version Wow, Charlie had chops! It's always amazing how he attacks those notes. He had one of the best sounds on the cup-mute. The big band rendition sounds like "Bebop", the Dizzy-Gillespie composition. Anyway, closer listening proves that these are different tunes with the same title.

This can be gotten rather inexpensively used, Ray Charles & Milt Jackson, "Soul Brothers/Soul Meeting" (Atlantic): Thanks for the suggestion. I will look for this one. I want to thank you for this recommendation as well. I listened to the samples and knew almost immediately I wanted to pick this one up. I didn't realize it was a 2-CD set and found a nice deal on a used copy. In addition to this, I picked up Charles' 2-CD "Blues + Jazz" (w/Count Basie Orchestra) so I can have a little Ray Charles fest in the near future. :tup Regarding Ray Charles: Does anyone of you know / have his collaboration with Jack Sheldon? I've seen that one on LP but didn't buy it. Oh, I see it's not with Ray himself, it's a musical portrait with Ray's liners: http://991.com/Buy/ProductInformation.aspx...ckNumber=455780 Anyway, they had recorded together because that's not the cover I remember.

Hello folks, Thanks a bunch for all your cool answers to my question. Maybe I better sit down and transcribe it myself. When I was talking about the "accurate 78-rpm-shellack-to-CD/vinyl-transcriptions", I was more thinking of the official studio recordings and their re-releases on the major labels like RCA, Columbia or Clef/Verve. I know that there are a lot of wrong-pitch-cases on many reissues of live-recordings, sometimes quite a happy mess there, or with reissues on labels like Joyce etc., mostly on vinyl. Thanks for hinting me to Prisoner Of Love. I will check that out. There's indeed much similarity between Body And Soul and the latter song. Here's a solo-transcription of Body And Soul. See ya later, Saxpet

Thanks. Yep, that's what I thought too. But it's a very large step from F-Major down to Db-Flat. These guys were professionals, and the transfers of 78-rpm shellacks recorded in a studio, are usually done accurately. Let's wait for more replies of ... some Hawk specialist perhaps?

Hello Folks, I'm new here. A friend of mine calls this forum his "favorite jazz forum". Thanks for having me. Now to business, be prepared, 'cause my question is a tough one: Since Hawk's unaccompanied tenorsax-solo Picasso is based on the changes of Body and Soul, I was always wondering why it is in the key of ... well, that's one of those mysteries: it's somewhere located between E-Major, F-Major or even Eb-Major, depends on which LP-issue you have. This seems to be an odd thing, because Body and Soul is usually played in the key of Db-Major, everywhere on the planet. Please: Has someone of you a clue? Has this variety of keys something to do with the pitch of the shellack-masters or the transfer from them onto tape? By the way, I played it just for fun on my turntable in the "right" key of Db-Major, and it still sounds pretty reasonable. Another mystery is the date of the recording: Picasso was either recorded in New York around 1947/48 or even earlier, in Los Angeles in 1945. There are two other unaccompanied solos of Hawk, called Hawk Variation (part 1 & 2), recorded in LA, 1945. I could provide sound-samples for comparison if requested. Thanks for an enlightening answer, Saxpet