jazztrain

Allen: I've called off the mob (although they were very angry). Some of his later recordings on Pablo are awfully good.

Allen: This might also be of interest: Glenn Miller Army Air Force Band

Allen: I can't definitely confirm it at the moment, but the chronology suggests that it likely was Miller that you're thinking of. Some on-line references indicate that Carisi was with Miller during 1943-1946. One source indicates that he was with Miller before the end of 1942. The following link provides some information indicating that the Army Air Force Technical Training Command Band, under the direction of Miller, was stationed at Yale duirng 1943: Glenn Miller at Yale Carisi isn't mentioned, but that doesn't mean that he wasn't there. There's a Glenn Miller discography that might help settle the issue (don't have it).

There's always Larry Shields with the ODJB. They hit New York in 1917. Yellow Nunez is another possibility, but I don't think he made it to New York that early.

The Teddy Wilson issues on hep are all excellent. I only regret that Alistair didn't quite get to issuing all of the Teddy Wilson sides from before the recording ban. Some of the other singers on the Wilson dates are quite good. Midge Williams, who I like a lot, shows up on at least one session.

Ed: It might have been George Baquet. I think that he was in the northeast (New York and Philadelphia) around that time. Not sure if he was the subject of the reference that you mention. I'll let you know if I can find anything. Gee Jeff. Just noticed that you beat me to it! Never mind.

Oops. Never mind. Clearly doing too many things at once. In case anyone was wondering about what happened to Ed Allen, file it away. Back to the drawing board.

OK, I think the mystery has been solved. Some additional searching led to the following: Answers.com and to: Wikipedia Admittedly, these are not always reliable sources but sometimes better than nothing. Both give a different date and location of birth (December 15, 1897 in Nashville, Tennessee) than Chilton. They also give a death date of January 28, 1974 in New York City. It's disturbing that both mention there being two jazz trumpeters with this name, raising the possibility of some sources confusing one with the other. By the way, who's the other one? Presumably not Red Allen (although Clarence Williams on one of his sides does appear to refer to Ed Allen as "Red"). In any case, the reference to Allen having toured and recorded in the 1950s with Chris Barber led to this: Jazz Journal If you scroll down to near the bottom of the Chris Barber review of the album "Candy Lips" you'll find a discussion of Ed Allen. Here are two excerpts: >>> Eddie Allen said he used to room with Clarence Williams at the time this was made and Clarence would say one morning, “Come on Eddie, we're going to record.” “What are we going to do?” asked Eddie. “Oh, I don't know,” answered Clarence, “we'll write something on the way to the studio.” By the next day even the names of the tunes they recorded would have been forgotten. Ed Allen doesn't know a single one of the tunes he recorded in those days! On the session I supervised, we had the amusing spectacle of Cecil Scott teaching Eddie Allen “Royal Garden Blues”. >>> >>> Ed Allen still plays fine trumpet. He's been working for the past fifteen years in a taxi-dance hall on 14th Street in Harlem. Six hours a night, ten minutes off each hour. Each dance lasts 45 seconds and costs the customers a quarter. No women allowed in the hall, except the hostesses. Ed is another great person. >>> So, there seems to be a connection between the Ed Allen who recorded with Clarence Williams and the one who toured with Chris Barber and apparently died in 1974. OK. Here's some more that's even better: Cecil Scott LP liner notes Scroll down to the liner notes for Harlem Washboard. Here are two excerpts: >>> However, I had already found three members of his original washboard band in New York, Cecil Scott, Eddie Allen and Floyd Casey, and I was able to leave the date in the capable hands of clarinettist Cecil Scott. He found a fine pianist, Don Frye, in place of Clarence, and a very skilful bassist, Leonard Gaskin, who plays on this session in place of tuba player Cyrus St. Clair, who died some years ago. >>> >>> THE MUSICIANS — Thumbnailed by BRIAN RUST: . . . ED ALLEN: Born in Nashville, Tennessee, December 15, 1897. Raised in St. Louis; took up cornet in 1907; professional debut, 1914. Moved to Chicago, 1924, and the following year to New York, where he worked with Clarence Williams on many record dates and with Leroy Tibbs's orchestra. Freelanced during the 'thirties and has played a taxi-dance hall in New York, on 14th Street, since 1945. One of the great unrecognised men of jazz, possessed of a splendid tone, both open and muted. >>> So, courtesy of Brian Rust, we appear to have confirmation of the December 15, 1897 birth in Nashville, Tennessee. The Social Security Death Index does have a listing for an Edward Allen born on December 15, 1897 who died in January 1974 with a last known residence in the Bronx. Seems to fit. I've found a picture on line of Ed Allen's Whispering Band of Gold from 1920. I don't remember how to post an image here, so I'll post a link to a website where it can be viewed: Ed Allen's Whispering Band of Gold Here's the corresponding caption: Capitol Ed Allen's Whispering Band of Gold, 1920. Left to right: Harvey Lankford, trombone; Floyd Casey (standing), drums; Sidney Desvigne, cornet; Ed Allen, cornet; John St Cyr, banjo; Isaac Jefferson, piano (standing); Walter (Foots) Thomas, sax; Norman Mason, sax; George (Pops) Foster, tuba & bass; Eugene Sedric, singer (tenor). Photo taken on the steamboat Capitol, 1920. Credit: Duncan P. Schiedt collection.

I saw Metheny and his Orchestrion project last night in Boston at the Orpheum (kind of an old dump). It may have been my first time seeing him (or at least the first time in many, many years). I went, in part, for the spectacle (the opportunity to see the Orchestrion) but was pleasantly surprised, in general, by the music. I agree that seeing it in person goes way beyond listening to the recording. As described by David in the previous post, the improvised demonstration pieces at the end were fascinating, since you gained more insight into how the process of controlling the mass of instruments worked. An interesting evening.

I found an Edith Anderson in the SSDI who was born on the day and year cited by Chilton. However, unless Ed had a significant life changing experience, that's not him.

I found the same reference in Chilton. Some other later publications reference Chilton. I checked the social security death index last night but couldn't find Anderson. That could mean that he's still alive. On the other hand, it could also mean that the birthdate provided by Chilton is wrong. Or that he never had a social security card. I have another periodical that I may check tonight to see if there's any other information about him. if I find anything, I'll check back in.

Bad link? Or is it me?

Allen: Good news, bad news. There is an Edward Sneed (bass) listed in the index of the later Bruyninckx vocalist discography. There are two entries. The first is a 7/20/56 date with Big Maybelle. The second is on page 786 in volume 2 (Du-Le). However, my volume 2 isn't where it should be. I must have had it out for something and neglected to return it. I'll check the record room when this call ends. Just saw the post from Fer Urbina that has come in in the interim. My guess is that the other entry is Annie Laurie. I'll let you know if I find anything else. Found it. Just to close the loop, the other entry was for Annie Laurie.

Allen: I can look it up a little later when I get off a conference call that just started. I had just found a bass player named Edward Sneed in the index. It might have the broadcast.

Mark: My copy of the Hines box on MF has some notes with it. The notes start with a two page essay about Hines from Stanley Dance. Those are followed by notes from Dance on the individual records. Here's some discographical information (although it appears you may already have some of this): Record One: Earl Hines (p), Budd Johnson (ts), Bill Pemberton (b), Oliver Jackson (d). New York, Dec. 29, 1977. Record Two: Earl Hines (p). Chicago. Sept. 25, 1977. Record Three: Earl Hines (p). Chicago. Sept. 25 and Oct. 17, 1977. Record Four: Earl Hines (p). Chicago. Sept. 9 and Oct. 17, 1977. Record Five: Earl Hines (p), Budd Johnson (ts), Bill Pemberton (b), Oliver Jackson (d). New York, Dec. 30, 1977. I'm not aware of this music having been issued elsewhere. I have other box sets on the same label with material from Louis Armtrong and Duke Ellington.

I would think that numerous copyright and licensing issues would preclude that. Although this may have been previously noted (no time to wade through the entire thread), note that the series was actually entitled "Chronogical Classics" not "Chronological Classics." Don't ask me what "chronogical" is. The series was a mixed bag. It was quite well intentioned and wide in scope but had rather uneven production values (even within a singe cd) depending upon what source material the producers were able to find or chose to use.

Just saw Kenny Werner's Trio (with Scott Colley and Antonio Sanchez) last night (second set) in Cambridge (Mass.). Highly recommended. They played mostly originals by Werner except for the last two selections. Here's the set list (with apologies for some which are likely phonetic approximations): Freewheeling Yago (?) Sutta (?) Fall From Grace Balloons Dolphin Dance Hedwig's Theme "Fall From Grace" was breathtaking -- a rather somber, requiem-like composition and performance. It looks like the same group is playing this evening somewhere in New London, Connecticut.

Sorry to hear the news about Joe. I think I met him years ago at the annual June record bash in New Jersey. He asked me to pass along his card to Dave McKenna and to express his interest in recording him. I did and never thought anything happened. However, Jump has issued a few McKenna cds in the last few years, so maybe something did happen. I share your interest in the remainder of the session. Perhaps they have the rest of it and could eventually be prevailed upon to issue it? Have you heard anything in the last few years regarding the disposition of Bozy's Berigan manuscript? You're right. You can't take it with you. One just hopes that this concert and others don't get lost forever due to stubborness and/or an unwillingness to share.

Claude: I don't have it, and there's only rather limited information available about its contents. I checked the Allegheny Jazz Society web site, but there's nothing there yet. Based on some limited descriptions that are available on line, it appears to consist of selections from live concerts, most of which presumbly were sponsored by the Allegheny Jazz Society. I'm guessing that they consider the selections to be some highlights from their trove of live recordings. You might get some additional information by contacting the label directly. Here's a link to the "Contact Us" page for them: Allegheny Jazz Society - Contact I think that Joe Boughton has been the producer for many of the Jump releases and was probably involved with this release. According to the following blog from earlier this year, he was having some health problems at the time. There's a contact e-mail for his son if you want to try to follow up: Jazz Lives - Joe Boughton Let me know if you find any more information.

Yikes! That was fast. Package arrived today. Many thanks David.

I think the XLP prefix is what Columbia used for 12 inch mono releases. I would expect they would be sequential, or roughly so, by issue but some additional work would be needed to confirm this. I had the same thought that you might have a test pressing for some anthology, perhaps not issued, by the Rampart Street Paraders. Bruno Andracchio might have been the owner of the disc. If you search on that name, you will find some hits.

In the wax on my copy of "Dixieland, My Dixieland" are: XLP37061-1B on Side 1 and XLP37062-1B on Side 2. The tunes on that album are as follows: I'm Gonna Sit RIght Down and Write Myself A Letter (Love's Got Me In A) Lazy Mood Dixieland Shuffle After You've Gone Oh, Baby! When It's Sleepy Time Down South My Monday Date Chinatown, My Chinatown

PM sent on: James Moody. Return from Overbrook. Red Mitchell/Jimmy Rowles. Red 'n' Me Enrico Pieranunzi. Ballads.

Not to my knowledge. My understanding is that the Kamuca albums were recorded privately and were then leased to Concord by Kamuca for issue on LP. I don't think that Concord currently has rights to reissue them. My recollection is that the first one (called "Richie") was originally issued by Kamuca on another label (Jazzz). I have CD-R copies of them (plus part of the date with Dave Frishberg) courtesy of another member. Ironically, I've been playing them in the car the last two days.

Chuck: Glad that you'll be reissuing the session, especially with the bonus track. Interestingly, he used the same rhythm section on his session for Delmark roughly 17.5 years later. Do you know if was a working group?