Shrdlu

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About Shrdlu

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  1. I would like to hear the unissued alternate takes and chatter, but I already have the CDs of the Handy and Waller sessions and they have quite a lot of (then) new material. I won't be needing the new Mosaic set, because, realistically, I would probably only listen to the new stuff once and then it would gather dust. It sounds like they are making sure that the Columbia material is backed up, which is a good idea. This is exactly what some of us have wanted to be done with the Blue Note reels. However, there is a large amount of stuff and it would cost a lot of time and money to do it, so it probably won't happen.
  2. Gary Peacock R.I.P.

    That hoax is in very bad taste. I have never heard of anything like it, and I don't know what anyone could gain from it.
  3. Jackie McLean: Swing, Swang, Swingin'

    This raises a point: just how bad are the many "rejected" or "unissued" Blue Note tracks? The decision not to issue in the CD reissue era was mainly that of Michael Cuscuna. We owe him a great debt for all of his hard work and persistence over many years, but, with all due respect to him, others should be allowed to make such decisions. This discussion is rather theoretical in view of the fact that CDs are not issued much anymore and the question of economics comes into it. Nevertheless, there is the frustrating knowledge that the tapes will eventually become unusable. There are some tracks that are almost certainly good. Examples are the two unissued tracks from the two John Patton sessions that produced "Blue John", and loads of Three Sounds tracks. Ah garontee that those would be good. Further evidence comes from the fact that a large number of excellent previously unissued performances were included on some Japanese CDs in the period 2003-2015. That might end up being the end of the appearance of new tracks. Who would have thought that the "new" items from "Out To Lunch" would be so good? And why were they not included on the first CD reiussue? The new guy at Blue Note, it seems to me, doesn't do much.
  4. Errol Buddle Interview

    I just came across a very interesting interview with the Australian reed player Errol Buddle. His main intrument was the tenor saxophone, but he also played the bassoon quite often - a rarity in jazz, of course. Its fingerings are fiendishly difficult and I would personally describe the instrument's design as a disaster, when you consider that it is, in a way, a bass oboe. The left thumb has eight keys to negotiate, as opposed to the one (the octave or register key) on a saxophone or clarinet. Nevertheless, Errol was fluent on the instrument. I love its sound during the bass solo on Gil Evans's "La Nevada", where it was played by Budd Johnson. Who was Errol Buddle? He was from Adelaide, Australia. Of interest to you here is the fact that he went to Canada and America in his early 20s (in about 1951) and played a lot in Detroit, where he was able to play with a lot of famous guys such as Elvin Jones, Tommy Flanagan, Barry Harris, Kenny Burrell etc. In the interview, he talks about them and other major players such as Bird, Miles and Diz. The webpage I am about to post shows newspaper clippings of him, in "The Australian Jazz Quartet", playing on the same program as many top groups. What an experience he had! Here is the link https://www.abc.net.au/jazz/features/specials/this-is-errol-buddle/9510504
  5. The online Blue Note discography incorporated all of my additions and corrections. That was quick. They did a very thorough job and listed the 2003 and 2015 CDs, so, as far as I can see, all of their information about The Three Sounds is now correct. To the team: well done! They even noticed that I had missed "Blues On Trial", from February 4, 1962, which mjzee pointed out. As well, I had missed the fact that "The Girl Next Door" and "This Is The Way 'Tis", from December 13, 1960, are on the 2003 JRVG CD "It Just Got To Be" (TOCJ-9527), as well as on the 2015 CD "Here We Come" (UCCQ-5091). The discographers spotted that, and so I don't have to send them another message. Once again, it is unusual for a JRVG CD to contain tracks that were not on the original LPs, and any extra tracks on them are easy to miss. 2003 was late in the day for JRVGs. Phew, it's all complete and correct now. The complications are due to several changes of plan at various stages of the CD era.
  6. Eke, once before I sent a correction to the discographers, and they incorporated it. It was nothing earth-shattering, but it was good to see it used. My latest submission is not exactly life and death, but it would be nice to see the adjustments made. Brad, I agree that such a Mosaic set is very unlikely. There is a large amount of material and the company is struggling, so the sets by Mobley and Morgan (suggested) are safer bets for them. The Mobley set seems to have done well. The Three Sounds were popular in their day, but I wonder how many people would be interested in them these days. It is frustrating that there are a lot of unissued performances that are most likely good (it being a regular working group that could do nearly every item in one take). I wonder how long it will be until the tapes disintegrate. Anyway, what we do have is great, and there is a lot of it.
  7. Oh, thanks. I have that CD, too, but I haven't dug it out in years.The Sounds discography is very tedious to go through, because different versions of the various albums have different "bonus" tracks. It really keeps you on your toes.
  8. In the absence of a Mosaic set of The Three Sounds' Blue Note recordings from 1959 through 1962, I have collected everything that has been issued. I noticed that there are errors and omissions from the excellent and very helpful online Blue Note discography here https://www.jazzdisco.org/blue-note-records/ so I decided to message the compilers with this update. I might as well give the information here. (1) "Azule Serape", " For Dancers Only" and "Tadd's Delight" are not on the 1998 U.S. CD "Standards". They are all on the 1998 U.S. CD "Black Orchid". "Blues On Trial" is unissued - it is not on "Standards". Here is the corrected listing: The Three Sounds + Ike Quebec Gene Harris, piano, organ; Andrew Simpkins, bass; Bill Dowdy, drums; + Ike Quebec, tenor sax #9. Van Gelder Studio, Englewood Cliffs, NJ, February 4, 1962 1. tk.2 Sometimes I'm Happy Blue Note CDP 7243 8 21281 2 0 2. tk.4 Easy Does It unissued 3. tk.6 Azule Serape Blue Note CDP 7243 8 21289 2 2 4. tk.7 Out Of This World Blue Note BLP 4197 5. tk.9 Girl Of My Dreams - 6. tk.10 Old Lamplighter unissued 7. tk.11 Just In Time Blue Note BLP 4197 8. tk.14 I Thought About You unissued 9. tk.18 Blues On Trial unissued 10. tk.20 Softly, As In A Morning Sunrise unissued 11. tk.22 Makin' Whoopee Blue Note CDP 7243 8 21281 2 0 12. tk.23 For Dancers Only Blue Note CDP 7243 8 21289 2 2 13. tk.24 Nature Boy unissued 14. tk.25 Remember - 15. tk.26 Wadin' - 16. tk.27 Mountain Greenery - 17. tk.29 What A Difference A Day Makes - 18. tk.30 Tadd's Delight Blue Note CDP 7243 8 21289 2 2 * Blue Note BLP 4197, BST 84197 The 3 Sounds - Out Of This World 1966+ * Blue Note CDP 7243 8 21281 2 0 The Three Sounds - Standards 1998 * Blue Note CDP 7243 8 21289 2 2 The Three Sounds - Black Orchid 1998 (2) From the March 7, 1962 session, "I'll Be Around, long version" is on the 2003 Japanese RVG CD "Out Of This World", TOCJ-9528, so it is no longer unissued. It is very unusual for the Japanese RVG CDs to contain any tracks that were not on the original LP, and I almost missed this track, which is very good, by the way. "Over The Rainbow", from the same session, is also on this CD. (3) Three Japanese CDs from 2015 contain a lot of bonus tracks, and they should probably add these to the discography. (i) The "Here We Come" CD, UCCQ-5091, contains "The Girl Next Door" and "This Is The Way 'Tis", from December 13, 1960, so they are not unissued. (ii) The "Black Orchid" CD, UCCQ-5104, contains "Tadd's Delight", "Azule Serape", "For Dancers Only" and "Nature Boy" from February 4, 1962, "Over The Rainbow" from March 7, 1962, and "Babe's Blues" from March 8, 1962. (iii) The "Hey There" CD, UCCQ-5096, contains 10 tracks from August 13, 1961: everything from the session except "In A Mellow Tone" and "Here We Come". "Billy Boy" IS on that CD, so it is no longer unissued. I hope that this helps. There are many other Japanese CDs of this group that are not in the discography, but they do not include any bonus tracks that are not on the original LPs, and they are easily found on the Discogs website. It would be nice to have the unissued tracks by this superbly-knit, grooving trio. It is hard to believe that they are not good. But I doubt that they will ever appear. There is probably too much material from 1959 through 1962 for a Mosaic set. I arranged what is available onto custom CDs, and got to 11, though I arranged them in a logical way and did not jam them in as tightly as I could have done.
  9. Elvin Jones Mosaic

    At the risk of seeming pedantic, I would point out that the discographical error of "alto clarinet" persists (not the poster's fault). Frank Foster played a low clarinet usually called the contra-alto clarinet on these recordings. It is in Eb, a fifth below the Bb bass clarinet, and is an octave below the actual alto clarinet. Both models can easily be seen online. I was given one of these Elvin albums to review when it first came out, and we all assumed that it was a Bb bass clarinet. As I recall, Frank didn't play it below the range of the bass clarinet, though I didn't check at the time. Elvin is my favorite drummer (though I love many others, of course) but I find a recording without piano a little dry and would greatly prefer to have one present.
  10. Eddie Condon 6/24/54. Cary on piano?

    It's not the point, but I was at a Condon performance in 1964 and Dick Cary was on piano. The others, from memory, included Buck Clayton, Pee Wee Russell, Bud Freeman, Jack Lesberg and Cliff Leeman. Dear old Jimmy Rushing sang with them - I remember shaking his chubby hand at a gathering in their hotel afterward. I got to chat with Eddie briefly, and Bud Freeman was very gracious and sat with a bunch of us and chatted for a long time. He was very nice to me (as a 16-year-old starting out on a saxophone) and I discovered that he used the same reed as me: a Rico #2. Real gentleman, as was Eddie.
  11. Philly Joe Jones on piano

    I can't find a link in the original post, but I presume that reference is made to this interview with Philly Joe This is an excellent interview with this master drummer. As was mentioned, the piano (instrument) was terrible. It doesn't cost much to have a piano tuned. (I have an upright grand in my home,) Highly recommended interview. While on the subject of Philly Joe, I recommend the following analysis of his work on "Two Bass Hit", at the Miles Davis session of February 4, 1958 As can be seen in the thumbnail, and at 2:25 in the video, he was using a minimalist set of just snare, bass, one floor tom, hats and ride. He gets such a full sound from that that I never thought that he had so little equipment when i played that track over all the years. It puts to shame the rock drummers with a huge forest of equipment that looks like they bought the whole drum store. Man, i can enjoy playing just a cowbell when a performance is grooving. Enjoy.
  12. The Story Behind John Cage’s 4’33”

    It was written in Bb, but Miles played it in F.
  13. Wes Montgomery live

    I came across this a few days ago I have always enjoyed Wes, but I enjoyed this more than I expected. The Netherlands trio (at the start) is my favorite of the backing groups. The pianist, Pim Jacobs, had obviously been listening to Wynton Kelly, and the drummer, Han Bennink, had absorbed the crispness of Philly Joe. We have been told that Wes was practically a musical illiterate (which I never believed), but this video alone dispels that nonsense. Wes discusses the chord sequence here, and had a wonderful grasp of harmony. Enjoy!
  14. Happy Birthday, Kenny Burrell

    One of the finest, up there with Wes and Grant Green. He contributed greatly to countless Blue Note sessions and beyond. I doubt that he will see this thread, but if so, Happy Birthday and thanks for all the excellent playing.
  15. Live version of Ahmad Jamal's "Poinciana"

    Glad you guys are enjoying it. The bell used in the middle section is the Latin Percussion "Salsa" bell. I have it here. It is the perfect pitch for this, and it adds so much. The tempo is absolutely perfect. Best thing I have heard in a long while.