Shrdlu

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Everything posted by Shrdlu

  1. I have just replayed the 1960s Monk piano solos. Does a 2 CD set count as a "box"? The set is called "Monk Alone" and is a delight to hear. Plenty of stride, and plenty of originals. Track 3 on CD 2 is erroneously titled. Its name is "Blessed Assurance".
  2. Wonderful to hear your news, Pim, and best wishes. I don't know what to suggest for a newborn. Just pick quality, melodic material. I can add my experience at a very young age. From about 4 onward, I was allowed to play my Dad's 78s on our clockwork phonograph. I enjoyed Fats Waller, Billie Holiday, Jack Teagarden and others. He had some Django Reinhardt/Stephane Grappelli disks, which I couldn't stand because the playing sounded violent to my young ears and the phrases they played sounded unpleasant. Later came Benny Goodman, Glenn Miller, Louis Armstrong and, on the radio a lot, Nat Cole singing. Of course, that was a different era, far removed from today.
  3. Bass Saxophone

    Here it is This is not the entire cartoon, but you can hear the bass saxophone in the intro.
  4. Bass Saxophone

    I, also, like Adrian Rollini's bass saxophone solos. As I recall, they are few and far between, and short, too. I bought my current soprano saxophone from a guy who plays a bass saxophone in a dixieland-type quartet. He IS the bass for that group. We met for the transaction at a town halfway between his and mine, so I never got to see the bass. He showed me a photo of the quartet. Saxophones having a conical tube, the bass is ridiculously large, and it only goes a fourth lower than the baritone (a third lower if the baritone has the low A), so it's not worth bothering about really. After its early oompah days in jazz, it and the sousaphone were replaced by the much nicer-sounding string bass, of course. Many will have seen the cover of a Bud Powell album showing a bass saxophone. Apparently, Stan Kenton's ridiculous orchestra was at the same gig. The Warner Brothers' cartoons had superb orchestral scores. A new score was composed for each cartoon. Talk about quality. The orchestra was large, and you would get a variety of instruments. I was watching the cartoon where Elmer Fudd checks into a hotel room, very tired and crabby. The clerk puts a drunken and blabbermouth Daffy Duck in the same room. The opening score has a very clear bass saxophone phrase. I checked, to see if it was a baritone, but it went lower. I might try to find a link to that cartoon, which is a classic in any case.
  5. Thanks for letting us know about this, Brad. I watched it. I have known some things about Bix since the early 1960s, when I was given a copy of Orrin Keepnews's "Pictorial History Of Jazz" and later got to talk briefly with Eddie Condon about Bix. This documentary gives many more details and includes far more than the two or three photos that are always shown. What a depressing life the man had, touring around so much to ugly cities and playing that two-beat music to dancers. That destroyed him. There is nothing to envy. Playing a 16-measure solo in some tunes in Paul Whiteman's bloated orchestra is not my idea of enjoyment. If only Bix had lived in, say, the 1950s, when jazz was much better developed, with lots of solo room, good material to play, and excellent sound engineering. With his talent, he would really have flourished, and might have lived a long life. Quite disturbing to watch.
  6. Readers might appreciate a listing of Ahmad Jamal's early recordings. Discographical information is not easy to find online, and the recordings are not all easy to find without fake stereo reverb. As I recall, I got some of these tracks from LPs. These are the recordings with Ray Crawford on guitar, before Vernel Fournier replaced him on drums. I like both configurations of the trio. The Mosaic set blurb claimed that its content (the trio from 1958 onward, with Vernel) heavily influenced Miles Davis, but the 1958 and onward recordings were after the event. The recordings from 1951 to 1955, which I am about to list, were the influential ones. 1957's "Miles Ahead" took a lot from the May 23, 1955 Parrot LP, whose contents were later reissued by Argo. The Mosaic set, which has excellent music, of course, is not needed: all of its tracks are available on individual CDs in scattered order. Ahmad Jamal (p), Ray Crawford (g), Eddie Calhoun (b) Columbia Studio, Chicago, IL, October 25, 1951 1. The Surrey With The Fringe On Top 2. Will You Still be Mine 3. Rica Pulpa 4. Perfidia Same personnel Columbia Studio, Chicago, IL, May 5, 1952 1. Aki And Ukthay 2. Billy Boy 3. Ahmad's Blues 4. A Gal in Calico Ahmad Jamal (p), Ray Crawford (g), Israel Crosby (b). Parrot (Breezville) Recording Company, Chicago, IL, May 23, 1955 1. New Rhumba 2. A Foggy Day 3. All Of You 4. It Ain't Necessarily So 5. I Don't Wanna Be Kissed By Anyone But You / The Alphabet Song 6. I Get A Kick Out Of You 7. Jeff 8. Darn That Dream 9. Spring Is Here Same personnel Columbia 30th Street Studio, NYC, October 25, 1955 1. Slaughter On 10th Avenue 2. Old Devil Moon 3. Black Beauty 4. Don't Blame Me 5. Autumn Leaves 6. Crazy, He Calls Me 7. They Can't Take That Away From Me 8. It's Easy To Remember 9. Squeeze Me 10. Something To Remember You By 11. Poinciana 12. The Donkey Serenade 13. Love For Sale 14. Pavanne
  7. Whither Allen Lowe?

    Sorry to hear this, Allen. I pray that you, and the bass player, will quickly recover.
  8. Red Garland on Prestige

    Always good to discuss Red - and play his recordings. A lot of his items with Paul Chambers and Arthur Taylor were scattered over several albums, and CDs when that era arrived. At this point, the original album track orders are (to me) of no relevance, so I arranged them all in session order. A favorite track (not released at the time) is "Tweedly Tweedly Dum". It is perfect for them and they really dig in. I remember the pop vocal of it being plugged heavily on the radio in the late 1950s. I don't remember which vocalist I heard. We kids used to go around singing it. There is some uncertainty as to the correct title. I was delighted to come across Red playing it, and it's surprising that Weinstock didn't put it out.
  9. That Mulligan set IS good. In the cover photo, Gerry is using the Selmer "Jiffy" sling, which came up in a thread in the Musicians' Forum section. So easy to adjust: a simple pull up or down, and it doesn't slip. I have one, and it hasn't worn at all. I wish they still sold them. Before that, my sling was a horrible thing with metal balls on a wire and a spring catch.
  10. Monk's First Two Riverside Albums

    I also protest about Milt Jackson being called slick. To me, the sound of his vibes is one of the most beautiful sounds of any kind. He was better recorded from the mid 50s on, and he slowed down the rotors after his earliest recordings, which was a brilliant stroke. I don't like the nervous shimmer of vibes playing with the rotors going fast. I am disappointed with the audio on Monk's late 40s recordings and I don't think the age excuses it. I have all the Fats Waller, from 10 years earlier, and I'm happy with the sound on those recordings. No, the blame has to be aimed at WOR studios. Alfred Lion did not hesitate to dump them when he discovered Rudy van Gelder.
  11. Post a pic

    How sad, Dan, to have to part with your lovely horse. She is beautiful.
  12. Sales and Distribution of Jazz LPs, circa 1948-1964

    This is a very interesting thread. Alfred Lion and Frank Wolff can't have been making the large amount of money suggested, because I heard an interview with Alfred's wife, Ruth, in which she said that Blue Note was never more than six months away from bankruptcy. Also, it is well known that Alfred and Horace Silver were very close friends, so it is unlikely that there were arguments about money. Getting back to the original topic, I was collecting LPs in the 1960s in a large city, and I never had any trouble obtaining the albums I wanted (and that includes Blue Note, none of whose albums were issued by other companies). After I got my first Prestige LP, which had their mailing address in New Jersey, I was able to order albums direct from them. They had a very efficient mail-order business and a large number of their albums remained available for many years, certainly through the end of the 1960s. I still remember the name Marcia Weinstock on the correspondence.
  13. Monk's First Two Riverside Albums

    In my comment, I missed saying that I like the July 23, 1951 Blue Note Monk session with Milt Jackson. Milt was an outstanding interpreter of Monk's compositions.
  14. Monk's First Two Riverside Albums

    Monk liked Orrin Keepnews because Orrin wrote an insightful article about Monk. I think what Riverside did with Monk was great. I have revisited the Blue Note recordings over the last few days, and I find them rather dreary, to be honest. The engineering (pre-Rudy) is not very good and the horn solos are rather lame. The tracks are short 78 items, so there is little room for piano solos when there are horns. The trio sides are better, but Art Blakey is not as rich sounding as he is on the 1955 Jazz Messengers date. The horns are fine, at last, on the 1952 session with Kenny Dorham, Lou Donaldson and Lucky Thompson. I like the 1948 session with Milt Jackson: for me, that is the most effective. I can see why Blue Note had difficulty selling the recordings as a whole. Monk's Prestige recordings, which followed the Blue Note ones, were very good.
  15. Our beloved dog Scout

    Awww, he is lovely, Kevin. Golden retrievers are the prettiest dogs, I think, and they are very friendly.
  16. The bass clarinet

    When I was a teenager learning the alto saxophone and immersed in the Dave Brubeck Quartet, a neighbor brought around a copy of "Coltrane Live At The Village Vanguard". It blew me away, especially "Spiritual". It had a soprano saxophone, a bass clarinet, a pianist playing all those new (to me) fourth chords, a fine bassist and this drummer with a new (to me) triplet feel. Just amazing. From that point on, I wanted a soprano saxophone and a bass clarinet. Just a little beyond a teenager's budget. So, let's look at the bass clarinet a bit. Here is one of the best of today's models http://www.selmer.fr/fiche.php?code=1108044011 In its modern form, it was designed by Adolphe Sax in 1838, which explains why it looks a bit like a saxophone. Before getting into it, I need to point out that the "ordinary" clarinet (as in Benny Goodman) is in Bb and its bottom note is E. Players in symphony orchestras always have a second one, in A, a half-tone lower: the one that's easier for the current key is used. The most common bass clarinet is in Bb, an octave below the regular clarinet. Historically, there have been bass clarinets in A, but they are very rare, and their parts are played on the Bb model, which then needs a low Eb in order to reach the low E of the A clarinet. Pay attention now, class: this will be on the Test. For a long time, bass clarinets extended to a low C (concert Bb) have been available. The poor old little fingers on both hands are presented with cumbersome double stacks of keys, and one has to be careful not to get a finger stuck under them. One hopes, ha ha, that they never make a "low C" A bass clarinet. When, as a young man with a trip to Paris, France, coming up, I was contemplating buying a bass clarinet, an orchestra musician very kindly lent me a Selmer "low C" model, to see how I went on it. I liked playing it, but we didn't have microphones at sessions, and the middle register was drowned out by the drummer. The middle, or "Clarion", register on a bass clarinet is thin, and if you try to push a note, you get a squeak, which is actually a high harmonic. I decided not to buy one at that time. There is another problem with bass clarinets. Unlike the regular clarinet, they need two register holes ("pips"), as on all saxophones. The cheaper ones, such as my current one https://used.samashmusic.com/product/bass-clarinet-student-model-sn56336-circa-1970-1975/ only have the one pip, at the top end. The extra pip goes on the (metal) gooseneck, if fitted. Its absence makes the middle register harder to play well, but I can manage. You don't wanna know what a new Selmer Paris costs. I'll end by posting a link to an amazing bass clarinet player called Earspasm. Watch him rip through "Giant Steps" along with the record https://www.youtube.com/watch?v=RQFySnj-NbM
  17. The bass clarinet

    Yesterday, I put on the CD of Buddy Defranco's 1964 album, "Blues Bag" again. The listing is here https://www.jazzdisco.org/art-blakey/discography/#641201 Buddy decided to play a bass clarinet on the session, possibly for the first time ever. I heard that, a couple of weeks before recording, he got hold of one and practised on it. He was just as fluent on it as on the standard instrument. There is total mastery. It provides a way of judging whether the instrument is suitable for blowing instead of a saxophone. What struck me is that there is such a sharp contrast between its grunting low register and its rather thin middle register (above the "break") that it does not succeed as a blowing horn. It is inconceivable that anyone could play it more fluently. So, I think that it is best used as an ensemble tone color. Eric Dolphy's work on it, with his unusual style, is the exception that proves the rule. His contributions to Trane's "Spiritual" and Andrew Hill's "Point Of Departure" are immense. The Defranco session comes across like a Jazz Messenger session with bass clarinet instead of a tenor saxophone, it having the likes of Lee Morgan and Curtis Fuller. Very enjoyable to hear.
  18. Our beloved dog Scout

    I got my dog pictures onto here by using MG's suggestion of using the "choose files" option. I had already reduced the file sizes to well under the 100 KB limit (with absolutely no reduction in quality that I could detect). I uploaded one picture, but the site squawked when I tried to upload the second one, so I put it into a second post. Then, it merged the two, making my text inaccurate. I didn't dare to try to edit the text. To improve this would cost Jim a lot of money, so I'm not going to complain. The dog is lovely.
  19. Our beloved dog Scout

    Here is one of the pictures of my dog: Little Dog. I will try to post the other one separately.
  20. Gabor Szabo

    Get back to Gabor Szabo. The thread is about him. As I posted when this thread started, I am very fond of his work. He had a unique and readily identifiable sound. I have enjoyed many albums by him, or with him as sideman. I don't know anything about the gripes about George Benson, and I skipped over them. Let us enjoy Gabor's work.
  21. Jazz guitarists--nice guys?

    I heard that, once, home on the range, a discouraging word was heard.
  22. The bass clarinet

    I found out that the bass clarinet on Lionel Hampton's "High Society" was not played by Hymie Schertzer. It was a while ago, and I forget who the player was - sorry. Typically, in a saxophone section, the bass clarinet was played by either a tenor player or the baritone player (Harry Carney being an example).
  23. Prez not using a strap.

    I am a saxophone player. I currently have a Selmer Mark VI tenor and a Series II soprano. My first saxophone was a Super Action alto. It would be very awkward to play any size of saxophone from alto or larger without a sling. A tenor is heavy, and even though Pres is seated, it would not leave the hands very free to move. This picture might just be a publicity shot. In the 1970s, I had a Mark VI soprano (bought in Paris, France, where I was served by none other than Jaques Selmer). It didn't have a ring to hold a sling, and I felt that it was a bit heavy on the right thumb to hold, so I ran a bit of plastic-coated electrical wire around the thumb strap and always used a sling. It felt a lot more comfortable that way. Apparently Selmer agreed, because my Series II came with a sling ring. I have three slings now, one each for the cases of the tenor, soprano and my bass clarinet (which also needs a sling). My favorite is from the 1960s, called a Selmer Jiffy. It is the best one ever, very quick and easy to adjust on the job. I wish I could get two more, but I can't find them online anymore. I have seen many pictures of famous players using one.
  24. George Mraz (1944 - 2021)

    Yes, Peter, George Tucker was great, too. He was in the great trio with Horace Parlan (about whom I just commented in the Mosaic thread) and Al Harewood. Alfred Lion used that trio to back horn players on several sessions. It had a nice gait. George really pulled on those strings hard. He must have been very strong.
  25. The discussion about Larry Kart's lovely dog Scout prompted me to mention this. I think it deserves a thread of its own. A few years ago, a successful DJ called Takis, in Crete, was moved to start a dog shelter. It is out in the sticks, and, apparently, real estate is not as expensive there as in many other countries. He has a house there, and several large fenced areas for the dogs. Pretty much all the dogs are rescues from (often) awful situations. The canine population has grown to over 400, and there are also cats and goats now. They are all available for adoption. There are several dog shelters throughout the world, but this one is extra special, because of its size, and the hundreds of videos, and Takis's warm personality. This is an amazing ministry. I watch at least one of his videos every day. They are all on Youtube. Takis is fluent in English, and the quality of his videos is very high. He doesn't wave the camera around rapidly. Very professional. It must cost a fortune to run the place. He used his own money to start it, and he gets a lot of donations. There are several volunteer helpers, because there is no way that he could do all the work on his own. Check the videos out. They make a welcome contrast with the doings of the politicians, and will brighten your day.