P.D.

Pete Candoli,Maynard Ferguson,Conrad Gozzo,Shorty Rogers..tpts Harry Betts,Milt Bernhardt,John Haliburton,Herbie Harper tmb Fred Fox, John Graas frnhrn Paul Sarmento tuba Harry Klee Bud Shank.. alto/flute Bob Cooper tne Jinmmy Giuffre tnr / bari Bob Gordon bari Claude Wiliamson pno, Howard Roberts gtr, Shelly Manne drms,Bernie Mattison perc LA Feb 8 1954

that, the Bechet / Solal is good news indeed... I have the LP but it needs replacing I suspect the other will be Bechet tracks from France.. Luter and Reweliotty.

well you get everything Pres recorded for verve between 1946 and 1959.. excluding concerts ( JATP etc).. and therefore is an accurate portrait of his work during this period, many feel that this is not up to his Basie days, but there is much top level music in the box.. Jazz Giants '56 and the Teddy Wilson tracks espercially. The only weak spot for me is the " Laughing..." album, but the band does its best to support Pres and it makes for interesting listening anyway. Similar comments on the Billie verve box.. you get it all but the rehearsal tapes might proove a bit too much foranyone interested solely in the music.

The Minton's sets are easy to come by as Lon points out above. There is however no discographical evidence that Monk and Christian played together, the tracks with Christian are from different sets to those with Monk. The pianist on the Christian tracks is either that famous musician " Unknown" or Ken Kersey.

I'm sure that you are all aware of, as it has been discussed elsewhere on this board, Lonehill just put out six CDs under John Graas' name which included all the Jazz Studio series plus the Grass jazz Lab sets

Before buying.. caveat emptor get one of the mouthpieces scrape off residual DNA run a sequence.. proove that the item comes from the specified musician Buy it rescrape clone the DNA do a " Boys From Brazil" environment habitat on the clones and 20 years from now Jazz will be healthy or we can have an answer to all those... :" What If's..."

As far as Jazz ( i. e. REAL Jazz) goes Haint it It Taint Watcha Do It's the Way that You Do It.... That being said.. I still hate, Cute, Rosetta and Blue Lou for no logical reason, I just cringe at those three tunes.

I rarely post anymore, and the instances of complaining to record companies is even less.. actually only once.. that was to Sony to complain about the Goodman Carnegie Hall set.. couldn't stand the surface noise which was much worse and more distracting thanearlier editions. They did call me back, about two month later.. by which time I had calmed down..( sobered Up? ) I can't believe Definitive spends much time cleaning up discs, though I think they must do a bit or else they have access to a lot of very clean LPs.. but I think based on the above coments I might investigate But Does the Definitive set include all the extra material that was on the Schaap issue?

I like Oscar Brown Jr a lot, but none of the later albums seem as satisfying as the early Columbias. Perhaps the later albums suffer from becoming familiar with Browns work and they don't seem to offer the surprises in lyrics, humour and jazz orientation that the earlier albums did. However if doing a program on Oscar, I guess you will have to offer a repredentative track or two from his later work.

However as the evening wore hon .......

Sounds like P.D.'s already enjoying Happy Hour. Nope... single finger typing and worn out letters on the keys I shall not correct the above.........

I just love a shallenge

They were pros who, like the wise editor in "The Man Who Shot Liberty Valance," knew that when the legend becomes fact, you go with the legend. Interesting comment.. when these albums were first released they did not receive such glowing reviews and commentary as they are getting now via reviews like the above and the majority of "reports" from the board members. For example .......The Parker / Carter / Hodges was considered to fall way short of the expectations created by such a star studded line up and no where near any of their efforts that could be found on their individual recordings. I recall that many reviewers felt they were all intimidated by each other that non played with their "normal" ability. ' "Jammin For Clef" was considered chaotic, an uncomfortable tempo and a disaster as far as Hodges was concerned. Perhaps the path that jazz has taken since the mid 50's have made these records more "valuable" or perhaps it is indeed a conversion of legend into fact.

Braff and Wilson did play and record together ( on a B.G. record in 1955) and possibly Wilson is not one who contributed to his remarks. Unfortunately not in separate small group set. I think Braff and Wilson might have mde a great duo record a la Mel Powell ( OK trio) or Larkins recordings had they been given the chance.

Sorry for the delay.. tried to scan it but wouldn't post to the board. Here is the article.. please don't let it stop you buying Downbeat ( that's just to appease them if reproducing this has copyright complications.) The bold comments are what caused my response. Braff..Jan 9 1957 "For years it has been my misfortune to be dragged by piano players because I love the instrument and it’s possibilities so. I lose more pianists that way, but it can’t be helped It seems that playing the piano is too much a job for the average piano player. Most persons started playing piano because it was conveniently at their disposal.. Had they attempted some instrument not connected with the rhythm section, they would have realised that it is no fun to accompany the pianist because he has more control than anyone in the band. The pianist has two chances to destroy you – with rhythm and with harmony As a rule he does both. Even some of the biggest names on piano can’t play behind anyone. They are constantly soloing A pianist in a jazz group has to be a doctor, otherwise someone has to get hurt. Look at the things a pianist must have in addition to what the other guys must have. Every jazz musician has to be a drummer in his playing. Every phrase, if it’s any good, must be rhythmical as well as anything else.. So consciously or otherwise, all players have to drum. Many guys don’t have a beat, but sound good because the guys in the rhythm section are wailing so well.. Conversely some players play so outstandingly well that the untrained ear doesn’t know they are playing ( so well ) in spite of a bad rhythm section. The pianist must control the orchestra which he has at his fingertips so that it does not interfere with the flow of the bass feeling and so the harmonies he’s playing are helping instead of channeling the soloist. The pianist must consciously be a student of percussion. Through the years, people have mentioned the great bands of Duke Ellington and Count Basie and others. They have always taken note of the soloists in the band, some of whom weren’t that great. Many persons who think about Duke, think only of his ability in arranging and composition. Few realise that when the Duke is at the piano, he is drumming behind the soloists the greatest, like Count, but with his individuality still coming through. Duke has a wonderful touch. It’s not noticed as much because playing behind a solo he’s playing in the background, where he’s supposed to be… not in the foreground! From what I’ve seen or heard, generally speaking, people think of the Basie band of a few years ago as a great band of great soloists. It’s no mistake, but the reason for the nice things they had an opportunity to develop is the guy relatively few know much about.. the Count himself. It was Basie’s conception that paved the way for the so called modern rhythm sections, which in most cases are way out of control. One might think there should be a million ways to play the piano behind someone, but I don’t think so. All the great pianists have ended up ( without them getting together and conspiring) with the same things in common about their playing behind a soloist, varied as their styles might have been, or are. The more the soloist would play, the less the pianist would play and the more percussive he’d try to get. Now pianists play whole note chimes and figures behind you. What a favour!" We all are aware that Braff could be something of a curmudgeon but I think there are relevant points here, Braff and Wilson did play and record together ( on a B.G. record in 1955) and possibly Wilson is not one who contributed to his remarks, however I suspect he would not have liked the " soloing behind the soloist" comments.

Not wishing to devert attention from Teddy, but if you have the latest Downbeat ( the 70th Aniversary issue..) how does the Ruby Braff article from1957.. sit with your comments above?

The Freddie Slack should fit the bill...........

Hell....... I'd take Cutsall over Slack anytime......... Make it so.

Might be " new" to CD.. but there were at least two vinyl issuses. Never bought them as the sounded like " broadcasts" but modern technology might have improved them ... though it looks like they could have been combined on much less than 4 CDs.

Thanks..so much for keeping 'LP integrity" I'll stick with the Ocium CDs and my old British vinyls that presented Stompin in one piece with an only slightly noticable stitch.

Just a simple question.. Did they stitch "Stompin at the Savoy" together as one piece, or is it divided into two?

There is a version on the " Benny Goodman " tribute in the list.. currently less than $9.00 from CD universe. I suspect this might be the one There is also an Octet version on " The Old South Wails".. presently used vinyl only. I might go for the Goodman as its the "59 Ted Heath band, but still think these fall into an "easy listening" category

Jazzmatazz is listing 25 Dave Pell reissues. Dave Pell, tenor sax player and arranger generally produces worthwhile sets, even though some of the titles e. g. “ The Old South Wails” which has a bunch of traditional jazz warhorses and flag wavers, the arrangements and musicians involved make them of interest if you like to explore West Coast Jazz. The list below seems to be mainly big band sets, some are not listed in Lord,( marked * ) some of the entries that are there, have no personnel. One, ..The Goodman, is listed as the Ted Heath band of ’59. Most of the listings are said to have Pell there as “ leader” but not in a playing capacity. I suspect most of these to be ‘cheap’ label ( Pickwick) big band sets for the nostalgia crowd, and of little interest to most of us However I do have the, Rogers& Hart, the Berlin and Burke & Van Heusen which are Octet sets ( Fagerquist, Ray Sims, Ronnie Lang etc.) . These are in keeping with Pell’s RCA output Dave Pell Big Band Hits, * Cherokee Revisited, * Crazy Rhythm, * Duke Ellington, Found A New Baby*, Glenn Miller,* Great Saxes Of The 50's, * Live In Paradise, * Meditation,* Plays Artie Shaw, Plays Benny Goodman, Plays Count Basie, * Plays Harry James Plays Henri Mancini,* Plays Les Brown,* Plays Perez Prado, Plays The Dorseys, Swing Of Pearls * Burke & Van Heusen Cameo, * Harry Warren Songbook, Irving Berlin, Rogers & Hart, Say It With Music, * Young & Healthy * Anybody got more definite info on these?.. I see some in the used vinyl stores, and they do seem to be “nostalgia’ records, but if there are any octet sets, other than the three I have, I’d like to know.. so far the usual record sites list the albums for pre order, but no cover art or details are supplied.

I have that album too.. It's Fosdick on the album and in Barbara's discography.

this Chrome Posted on Nov 5 2004, 02:49 PM I really like his "All-Night Sessions" and this doubleM Posted on Nov 5 2004, 03:01 PM I agree about the book, it's a MUST read. Even for those who aren't jazz-inclined. and this j lee Posted on Nov 5 2004, 04:27 PM Don't forget (on LP) -- "The Challenge." One of the *great* solo piano records ever and just about everything else....... Though some of his electric piano jaunts might not qualify....