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About Shrdlu

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    Groove Merchant

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  1. This reminds me of my Dad in Egypt in W.W. II. They dealt with the scorpions by pouring a bit of gas and dropping a match. When I camped out in 29* Palms, CA, we looked inside our boots before pulling them on. ______________ * Now 24 Palms, because of State cutbacks.
  2. A Ron Mcmaster CD will quickly drive them away.
  3. Better to see "It Must Schwing", if you can. I have seen it. It's pretty good, but doesn't contain much that an experienced jazz lover would not already know. But it's well worth a watch. Wie ist dein Deutsch? The talking heads almost all speak in English, including Alfred and Dan Morgenstern, but they are almost entirely drowned out by overdubs in German. I can speak German, but it's hard to listen to both languages simultaneously. English subtitles would have been a great help, especially for American audiences. Here is a Blue Note bio that isn't lame, unlike the 90s one. Catch it if you can, but don't spend a lot on a ticket.
  4. Brubeck "Jackpot" CL 2712 mono- does it actually exist?

    A Brubeck album that has been neglected is "Southern Scene", from 1959. Very few CD appearances - should I put an s on that. It is a delighful album, and was a follow-up to "Gone With The Wind" (and better, I think). It was one of my first two LPs, and my copy was mono, because we didn't have stereo equipment at that time. It got neglected because it was lost in all the fuss about "Time Out", with whose recording sessions it overlaped. Don't miss the outstanding version of "Nobody Knows The Trouble I've Seen". The piano and saxophone solos are amongst the best by those guys.
  5. John Coltrane Impulse masters destroyed?

    Someone at Impulse threw out nearly all of the session reels in the 70s. Only the masters for the LPs were kept. A small amount of the tapes survived, e.g. the tapes of Trane's November 1961 Village Vaguard performances, which were issued in a 4 CD set. Some dribs and drabs came out on vinyl before that. All of the 90s Impulse CDs have nothing on them that had not been issued on vinyl. The tracks on the three "Definitive Jazz Scene" LPs provided a few tracks that were included on the CDs. No Impulse out-takes or unissued tracks were lost in that terrible fire. But it does seem that the main LP masters were lost.
  6. Essential Benny Goodman

    It is downright mean of these estates to refuse, or delay, issue: Goodman, Ellington, Coltrane, and maybe others. If they wait too long, the tapes (or disks, whatever they are) will decompose. I can easily believe that the "Treasure Chest" material is from Savory. When the three LPs came out, it was rare to get any discographical information. Look at the clumsy way Columbia issued Miles's music. No recording dates, half of "Kind Of Blue" at the wrong pitch, and fake stereo LPs of material that was recorded in stereo.
  7. Kenny Burrell in 1948

    Thanks for posting. A nice piece of history. The Detroit area has produced so many excellent jazz musicians. Kenny's first recording was "Tin Tin Deo", in 1951, with Diz. (That composition was not recorded by Diz's first big band, as you might have expected, unlike other Diz classics, such as "Ow" and "Oop Bop Sh'Bam". The 1951 recording was its first appearance on disk.)
  8. I have the 1973 solo piano concerts by Keith Jarrett in Bremen and Lausanne. No problem with those. Also, his playing on the lightning fast "Secret Love", on Art Blakey's "Buttercorn Lady" album is amazing. That is the fastest tempo I have ever heard. For caterwauling, try the eccentric Glenn Gould's Bach. Getting back to the main topic, when I was learning to play, it was widely held that only "classical" music was legitimate. Everything else was regarded as substandard, never mind the virtuosity of Dizzy Gillespie, Charlie Parker, Fats Waller, John Coltrane and all the rest. I resented that snobby attitude then, and I still do.
  9. Creating “enhanced” Mosaic sets

    What G.O.M. said. I have all of that here. It would take a while to assemble. The second Basie/Young set is chaotically arranged. This is not entirely Mosaic's fault. Sony and Universal refused to mix their material on CDs. The Sony-owned tracks are hived off onto a separate CD. But the alternate takes are shoved down to the ends of the disks. Michael Cuscuna does that in response to (fairly virulent) customer requests. For me, the arrangement of the tracks is a mess. I have never played the CDs as issued. It took me days to disentangle all the tracks into chronological order. The notes are in the same order, and now the set is easy to study. Superb music, of course. (I love Slam Stewart and didn't appreciate what the note writer said.)
  10. Essential Benny Goodman

    Ted, I had a look at the 3-LP box set and they don't mention the source of these air shots. They are all from 1937-1938. I don't have the Mosaic Savory set, so I can't check that. The sound is good, with no "short wave" distortion.
  11. Essential Benny Goodman

    Discogs lists two or three CD versions. I was not aware that the music had come out on CDs. It certainly deserves to. This is the best Goodman I have ever heard. I transferred the two LPs to CD years ago. Discogs also has a picture of the Australian Festival issue of Vol. 2. Not only is Buck visible on the cover, but he is named there. Another of his solos is on "One O'Clock Jump". I also recommend an M.G.M. set of Goodman called "Treasure Chest". This set is three LPs of air shots. Included is a welcome live version of "Mr Bach Goes To Town" (with at least two bass clarinets) and a wonderful version of "Honeysuckle Rose" in which there is an obbligato at half tempo: a great musical moment. I have no idea whether these performances exist on CDs.
  12. Essential Benny Goodman

    Great to hear. At the time, Buck was under contract to Columbia (for all those jam sessions), so he wasn't credited on the U.S. Decca LPs. The funny thing is that the Australian LP of Vol. 2, issued at the time by Festival, had a different cover. It was a picture of the recording of the one Octet track, and you can see Buck very clearly. Of course, he can be seen in the movie. For example, he opened "Bugle Call Rag".
  13. Now reading...

    That paper is one of those sulky sites that block you if you have an ad blocker. I just leave their page when they do that. Anyway, I know the full story about Wodehouse in WW II. He was a guy who was above the grubby world of politics. He made at least one non-political broadcast from Germany, and some stuffed shirts griped about it. At the war's conclusion, he was arrested by the Brits, but fortunately, he was interviewed by Malcolm Muggeridge, who was an officer at the time. Muggeridge had a brain and soon realized that Wodehouse had done nothing wrong. He was just unlucky to be in Europe at the time. The stupid Brits boycotted him for decades, and it was only just before he died that they finally honored him for the brilliant writer that he was. He was not a N.A.S.D.A.P. member or sympathiser. So, let us enjoy his superb books and forget about that sad business.
  14. Essential Benny Goodman

    One essential set of Benny is the DECCA "Benny Goodman Story" collection, released on two LPs, and never on CDs so far. The Decca recordings are the ones used in the movie, and have a large number of the original band members, such as Hymie Scherzer, Chris Griffin, Teddy Wilson, etc., plus guests Buck Clayton (uncredited) and Stan Getz. Those recordings are essential Benny. The version of "One O"Clock Jump" is way better than Basie's original, thanks largely to Hymie's superb lead saxophone sound. Don't miss those. Capitol was deceitful and issued two LPs with the same title, but they had a different lineup entirely.
  15. Two more Hank Mobley photos.

    Hank is playing a King tenor in that last picture. You don't see them a lot (I've never seen one live). Usually, Hank is shown with a Super Action Selmer (the one before the Mark VI), the same model that Trane used until about 1964. Cannonball is always shown with a King, and Yusef Lateef had one when he was in Cannonball's sextet. Presumably good horns. I have always stuck to Selmer horns, which are the best for jazz from bop onward. All the others today are copies of it. I have blown Yamaha altos and tenors, and those are good, but you can't beat the real thing. During the swing era, the Conn tenor was the best bet. They had a big sound. My saxophone mentor said that the Conn was the tenor to get. Too bad that the keywork for the left little finger is so clumsy on saxophones before Selmer's "balanced action" design. I had a 20s Buescher on loan at one time. The owner's grandfather had played it in Jimmy Durante's band. It had a nice, big sound, and it was very solidly built, but the keywork was awful for a man accustomed to the balanced action layout.