John L

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About John L

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  • Location Washington DC
  • Interests Things blue and from the soul

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  1. Larry Willis, RIP

    Very sad indeed. RIP
  2. It seems like people who argue for the superiority of classical music over jazz are always coming from classical music, and are always using the metrics of classical music to evaluate jazz. Jazz is founded in rhythm as much as harmony, and not "rhythm" as defined in classical music by time signature. Rhythm in jazz is played around the time signature in the African tradition, something that simply does not exist in Beethoven. That, and not improvisation per se, is the primary reason why comparing jazz and classical music is like comparing apples and oranges.
  3. Dr. John: 1941-2019

    Some of his later records are quite worthwhile, including the one highlighted by Jim S above. When people used to request "Right Place, Wrong Time" at his shows since the 1980s, he would often reply "I don't play that shit no more." RIP. It feels like Mac took a piece of New Orleans with him when he left.
  4. RIP. I really appreciated Chris. It is worth noting that the course of recorded jazz would have been a bit different without him. There would be no Ida Cox comeback album with Coleman Hawkins. There would not be those beautiful Lonnie Johnson albums with Elmer Snowden. "Bessie" is one of the truly great jazz books. Chris was a unique individual, always very generous and consistently intolerant of racism and injustice.
  5. Branford slams Miles

    Jim S. - Well, I didn’t understand from the discussion that Branford was asserting his own importance in music. He was just expressing an opinion about Mile’s role, or lack thereof, in the 2nd quintet. I also disagree with his opinion, but don’t think that he needs to be chastised for it.
  6. Branford slams Miles

    It was a perfect marriage. Yes, it was largely the accomplishments of Shorter, Williams, Hancock, & Carter. But I really don't think that they would have reached the heights that they did without Miles. It reminds me of how, in R&B, members of the Flames or the JBs would even sometimes think to themselves that they were doing it all. But without James Brown, it didn't happen. Conversely, James Brown could make it happen even without the best musicians.
  7. Discogs Collection option

    Thanks, Д.Д. I had a program called CATRAXX for many years, but they discontinued it. I had tons of information there, can't access it any more.
  8. Discogs Collection option

    Does Collectorz store information on musicians playing on the records in a searchable manner? For example, I want to see all the albums in my collection that Sam Jones plays bass on.
  9. From Jack Goodwin's online discography 69-0914 WARNE MARSH QUARTET. “Ne Plus Ultra”. ‘Herrick Chapel Lounge’, Occidental College, Los Angeles, CA., September 14, 1969. Gary Foster, as; Warne Marsh, ts; Dave Parlato, b; John Tirabasso, d; . 1a You Stepped Out Of A Dream take 1 ? 1b YOU STEPPED OUT OF A DREAM take 2 9:03 2 How About You ? 3a Two Part Invention No 13 (J.S. Bach) take 1 ? 3b Two Part Invention No 13 take 2 ? 3c Two Part Invention No 13 take 3 (inc.) ? 3d Two Part Invention No 13 take 4 ? 4 Featherbed (unsure/maybe mixed up w. Smog Eyes (69-1025/item 3) ? Note: Entry according to Revelation files; before item –3a a false start was recorded. Not known which take of “Invention” (0:59) is used on the CD issues. 1a,2,3? Uniss. 1b, R Revelation 12 1b,3? CD Crown BRJ-4111 : hat ART CD-6063 : Hatology CD-603 ♦ 69-1025 WARNE MARSH QUARTET. 'Herrick Chapel Lounge', Occidental College', Los Angeles, CA., October 25, 1969. Gary Foster, as; Warne Marsh, ts; Dave Parlato, b; John Tirabasso, d. 1 SUBCONSCIOUS-LEE 7:15 2 LENNIE'S PENNIES edited 4:21 3 SMOG EYES ? 4 TOUCH AND GO 15:22 5 YOU STEPPED OUT OF A DREAM take 3 ? 6 317 EAST 32ND STREET 8:15 1,2,4,6 R Revelation 12 1,2,4,6 CD Crown BRJ-4111 : hat ART CD-6063 : Hatology CD-603 3,5 Revelation unissued 71-0000 WARNE MARSH – CLARE FISCHER – GARY FOSTER. Los Angeles, early 1971 Gary Foster, as; Warne Marsh, ts; Clare Fischer, p; Paul West, b; John Tirabasso, d. 1 JUST FRIENDS 13:07 2 I GOT IT BAD AND THAT AIN'T GOOD 7:55 3 FEATHERBED 4:46 all PR unissued Revelation date ♦ 71-0111 WARNE MARSH & GARY FOSTER. 'The Ice House', 24 Mentor, Pasadena, CA., January 11, 1971. Warne Marsh, ts; Gary Foster, as, ss*; Dave Parlato, b; John Tirabasso, d. 1 317 EAST 32ND STREET ? 2 TWO NOT ONE 4:48 3 FUZZ BLUES 4:03 4 KARY'S TRANCE 4:36 5 IF YOU COULD SEE ME NOW ? 6 SUBCONSCIOUS-LEE 3:48 7 BACH 2 PART INVENTION ? 8 FEATHERBED 7:56 9 ALL ABOUT YOU 4:57 10 CONFUSION IN DALLAS * 6:23 11 BACKGROUND MUSIC 2:45 (Most tracks edited for Marsh solos and theme only) all PR Unissued Revelation recording ♦ 71-0123 WARNE MARSH & GARY FOSTER. 'The Ice House', 24 Mentor, Pasadena, CA., January 23, 1971. Warne Marsh, ts; Gary Foster, as, ss *; Dave Koonse, g; Frank De LaRosa, b; John Tirabasso, d. 1 FEATHERBED 9:42 2 IF YOU COULD SEE ME NOW 9:37 3 ROUND MIDNIGHT 6:51 4 FUZZ BLUES * 8:14 5 SUBCONSCIOUS-LEE 7:58 6 ALL ABOUT YOU 6:24 7 LENNIE'S PENNIES inc. 3:53 all PR Unissued Revelation recording 71-0822+ WARNE MARSH. A Giant Passes. 'The Gilded Cage', Rosemead Boulevard, East Pasadena, CA., August 22 and / or 26, 1971. Warne Marsh, ts; Ron Hoopes, p ; probably Paul Ruhland, b; John Tirabasso, d. 1 LULLABY OF THE LEAVES (a,b) 9:00 2 IT'S YOU OR NO ONE (b) 6:30 3 DAY BY DAY (a,b) 8:40 4 I LOVE YOU (a,b) 7:25 5 SONNYMOON FOR TWO (sign-off) ? Note: Tunes labelled (a) were intended to be issued after Marsh' death under the title 'A Giant Passes'; labelled (b) under the title 'At The Gilded Cage'. (see also 72-0600) all Revelation unissued 72-0509 WARNE MARSH - CLARE FISCHER - GARY FOSTER. 'Clare Fischer's Studio', Van Nuys, CA., May 9, 1972. Gary Foster, as; Warne Marsh, ts; Clare Fischer, p, org (11,12); Paul Ruhland, b; John Tirabasso, d. 1 IT COULD HAPPEN TO YOU 8:26 2 BLUESY ROUGE 10:09 3 IN A MELLOTONE 11:15 4 YESTERDAYS 7:50 5 KARY'S TRANCE 10:00 6 SQUARE THEME Fischer plays polka beat against horns (play "Donna Lee" ) 0:35 7 I GOT IT BAD AND THAT AIN'T GOOD 7:00 8 STELLA BY STARLIGHT 12:00 9 THERE WILL NEVER BE ANOTHER YOU 10:00 10 IN A SENTIMENTAL MOOD 2:38 11 CHEROKEE 10:00 12 YOU'VE CHANGED 10:00 13 WATCH WHAT HAPPENS Marsh out 9:00 14 JUST FRIENDS ? 1-4 R Revelation 17 others unissued; entry according to Revelation files 72-0529 WARNE MARSH - GARY FOSTER. 'The Ice House', 24 Mentor Avenue, Pasadena, CA., May 29, 1972. Gary Foster, as; Warne Marsh, ts; ; Frank De LaRosa, b; John Tirabasso, d. 1 KARY'S TRANCE * ? 2 LENNIE'S PENNIES * ? 3 317 EAST 32ND STREET * ? 4 YOU STEPPED OUT OF A DREAM * ? 5 FEATHERBED * ? 6 BODY AND SOUL * ? 7 TWO NOT ONE ? 8 ALL THE THINGS YOU ARE ? 9 BACH TWO PART INVENTION NO.13 Marsh + Foster only ? 10 TWO NOT ONE ? 11 IF YOU COULD SEE ME NOW Foster out ? 12 CONFUSION IN DALLAS ? 13 I LIKE NEW YORK IN JUNE (or How About You / Chamberlain) ? 14 FUZZ BLUES * ? 15 BACKGROUND MUSIC * ? Note: titles with * probably duplicates of previous entry. all Revelation unissued; entry according to William Hardy (Revelation Records) 72-0600 WARNE MARSH – CLARE FISCHER 'Clare Fischer's Studio', Van Nuys, CA. unknown date, June 1972 Warne Marsh, ts; Clare Fischer, p, el. P (7,8); Paul Ruhland, b; John Tirabasso, d 1 THAT OLD FEELING 7:05 2 STRIKE UP THE BAND 8:46 3 INDIAN SUMMER 10:17 4 THE MORE I SEE YOU 3:53 5 ISRAEL 5:55 6 THE BEST THING FOR YOU 8:15 7 AFTER YOU'VE GONE 11:48 8 THIS CAN'T BE LOVE inc. 2:54 all PR unissued Revelation recording.
  10. Eddie Condon Mosaic for sale !!!

    Yes, I liked this much more than I thought I would: music to put a smile on your face.
  11. It is a shame that Mosaic didn't include the Columbia sessions in their previous Lunceford set. It would have been perfect.
  12. We discussed this before, but I think that the ultimate Mosaic set at this point would be Warne Marsh - The Revelation Recordings. This would be Non Plus Ultra plus about 6 more CDs of still unissued professional recordings made around the same time.
  13. I just had a chance to hear this one. Very very nice! Kimbrough has a strong personal feel for Monk's music. The arrangements are imaginative, completely loyal to the compositional structures but also creative. I think that Monk himself would be pleased and honored with most of these interpretations.
  14. I played that album to death back in the day.