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About Shrdlu

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  1. The Story Behind John Cage’s 4’33”

    It was written in Bb, but Miles played it in F.
  2. 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!
  3. 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.
  4. 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.
  5. The bass clarinet

    This might be a bit on the obscure side, but I have often wondered what the lowest note on Eric Dolphy's bass clarinet was. As I posted at the start, the bottom note is usually (written) Eb, sounding Db in concert pitch, or C (Bb concert). Well, this video settles the matter. The lowest note is D (C concert). He plays it here, on "God Bless The Child". Also, I can see three silver hole covers below the right hand little finger key stack, whereas my low Eb model has only two. The lowest of the three vents the Eb, and the D comes out through the bell. He definitely doesn't have the low C model, because those have 6 keys in the right hand little finger key stack, and his horn has only 5. This means that Eric could play a low concert C on Trane's "Spiritual" (1961, at the Vanguard), the piece being in C.
  6. Most of you will have been familiar with the 1958 live version of "Poinciana" for a long time. I just found this version This rivals the 1958 version. The percussion swings like crazy. High recommended! The percussion guy has a pair of the Latin Percussion Giovanni Hidalgo "Galaxy" tumbas. It's hard to make out which sizes he has, but it looks like the requinto and quinto. Usually, if a guy has just two, they are the quinto and the conga. Although I am mainly a reed player, I have all four in this range: requinto, quinto, conga and tumbadora. Nice pieces of kit. I have most of LP's gear, including about 15 cowbells. I just love Latin percussion sounds. It would be great to have all of that Jamal concert available. They don't look exhausted after "Poinciana". I also like the original (studio) version of that piece, which has Ray Crawford on guitar instead of Vernel on drums. The trio with Israel and Vernel plays a sensational version of "Darn That Dream" here
  7. The bass clarinet

    Thanks, Tom. I found it on Youtube.
  8. The bass clarinet

    That's very interesting. Hymie is my favorite sax section lead alto. Benny's four sax section, led by Hymie, was my favorite of all. The absence of a baritone gave it a light, agile sound. Gerry Mulligan said the same thing, but don't ask me where I saw that. They were still able to get that sax section sound for the movie about Benny, Hymie being on board. I recently saw the two movies in which Glenn Miller's band appeared, and I spotted a bass clarinet. I also saw one in the "Fabulous Dorseys" movie. You don't hear it on their records, because it is buried in the reed sections. An exception is Benny Goodman's "Mr Bach Goes To Town", which exists as both a studio version and a live version in the 3-LP "Treasure Chest" set. (I don't think that that set has appeared on CDs.)
  9. To Mjzee, yes, that's J.J.'s trombone case, and you can see the trombone bell. I just saw the pic today after Mosaic linked to the article. I had not seen that pic before. Other pics from that session are well-known.
  10. Seriously, how do you play this?

    Woodwind instruments have keys that close pads, not valves. The keys are arranged in two clusters so that the player's hands can reach them. One's hands are not directly over all of the holes (except for a few smaller instruments, such as a treble recorder). It is the same principle whether it's a soprano saxophone or this flute monstrosity (three octaves below the standard flute). On the larger instruments, the keys might be a little further apart, but fingers have a limited span. I have heard samples of this flute, and I think it has an unpleasant, grunty sound. To me, it's just a workshop curiosity. I am very fond of the "bass flute", one octave below the regular flute (and twice as long), but that's as low as I am prepared to go in the flute family.
  11. Just saw this thread now. You are in my prayers.
  12. Rest Easy Mom & Dad

    Really sorry to hear this, Soulstation. My deepest sympathy.
  13. Miles Davis on American Masters.

    Thanks very much, guys, for letting us know about this and posting a link. I watched it pretty much straightaway. It is very well done, and contains material that most people have not seen before. It avoids the usual pitfalls of biographies. To those who had a part in it: A hearty "well done".
  14. The Spotlite Dial LPs may have begun in the late 60s. I was in Australia when I got them, and I left permanently at the end of 1971. I remember that Vol. 7, the session with J.J. Johnson, came out a bit later than the other 6 LPs. (I don't like the mute that J.J. uses for most of the session: it destroys his lovely open sound. Only on "How Deep Is The Ocean?" does he play open, and, for me, it proves my point emphatically.) To answer a question above, Tony Williams and Spotlite are still going, though I doubt that much new material has come out in the last few years. He did put out alll the Dial recordings, including the items in the first post in this thread. Other companies have issued some Dial items since Tony's definitive LPs, but they can't sound any better, because all the masters were lost in the 1950s and Tony had to rely on Dial 78s and LPs for virtually everything. (Tony told me that on the phone years ago.)
  15. Ah, yes, the Spotlite label! Prior to it starting, in the 1960s, Charlie Parker's Dial recordings came out in dribs and drabs on various budget LPs. It was a most unsatisfactory situation, with variable sound and in no organized order. The original Dial label only lasted about 6 years, and its recording masters were lost. All that survived were the issued 78 singles and a few 10" and 12" LPs - fortunately, a lot of alternate takes were issued. Tony Williams, in England, got in touch with Dial's owner, Ross Russell, and they collaborated on a comprehensive series of complete Parker LPs, taken from the best original Dial 78s and LPs that could be located. I was delighted when I heard about that. The series ended up being seven LPs, and the source material was of a pretty high standard throughout. But it should never have been like that. The New York City items were recorded at W.O.R. Studios, the place then used by Blue Note. The Blue Note masters still exist today, and so should those of Dial. I'll leave it to others to add more reminiscences. Spotlite still exists, and, of course, its material has been issued on CDs.