Big Beat Steve

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About Big Beat Steve

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  1. Flip Phillips "Your Place Or Mine?" on CD

    Thanks for the info, but where does Flip Phillips fit into this Jump catalog? I cannot find his reissue in this listing (on the admittedly exceedingly crudely designed Delmark website).
  2. Flip Phillips "Your Place Or Mine?" on CD

    What kind of label is this??? Is this the label that was resurrected/reissued by Zim on LP in the 70s, e.g. for an obscure early Zoot Sims date (with leader Dick Nash)? What's coming full circle there (or not)?
  3. Lou Mecca

    Thanks for the reminder about Joe Cinderella. I have the "Patterns In Jazz" LP. It must have been ages since I last spun it. About time again ... (later today ).
  4. Lou Mecca

    I''ve always been curious about him (to complete my range of 50s modern jazz guitarists). Too bad I missed out on opportunities to buy an affordable copy of the Japanese 10-inch reissue LP about 15 years ago. I have all the others that seem to have been compiled with him in one package (Sal Salvador and Tal Farlow on the one hand and Bill DeArango as well as Chuck Wayne/Brew Moore onn the other) so would be stuck with tons of overlaps and duplicates which is annoying. Oh well, one day maybe ....
  5. Not sure which recordings you refer to (I don't know all of his post-war recordings - far from it) but I remember some where I found he had quite an attractive "bite" to his electrified sound (maybe due to some - intentional or unintentional - distortion?). YMMV as some are wont to say around here ...
  6. Niko, I must admit I am not familar with the Frémeaux sets and have never checked them in detail (I've always had too much Django - though with gaps and overlaps, invariably - to warrant investment in any full-price CD box set or series because those invariably will add loads of additional duplications and will never be all-new). At any rate, this is how it ought to be done. Prime Django Reinhardt would have to include the QHCF period up to 1939 in depth, and apparently this period is covered only in a very spotty manner by the Vogue box set (I had thought the pre-war Swing recordings - remember that LOOOOONG "Djangologie" LP reissue series on Pathé? - had come under the Vogue banner too, but apparently not so). My first Django records ever bought (Vogue reissues too) also jump from a handful of 1935 sessions to the postwar recordings with Hubert Rostaing and therefore ommitted a LOT and therefore give a somewhat skewed picture. Seems like this is not fundamentally different here too, judging by the Amazon review above. And, BTW, re- the review, this is NOT what he recorded "for the Vogue label" - there was no such thing as Vogue in 1935 - but for those labels that the conglomerate that holds Vogue now has control over, e.g. Ultraphon. I've also briefly compared the track list found here ... http://www.freshsoundrecords.com/django-reinhardt-albums/5943-django-reinhardt-on-vogue-complete-edition-1934-1951-8-cd-box-set.html with the Rust and Jepsen discogrpahies (which may not be 100% up to date anymore) but am a bit puzzled about some of the postwar track listings. But too much work now to sort this out in detail (and no time accessing the Bruyninckx ). That said, at the price indicated above this 8-CD box set should be good value both as an introduction to the artists and as fodder for your car CD player any time.
  7. IMO the "problem" with this set is that the Vogue recordings (just like others) have been out in so many guises that it is hard to keep track of what there is elsewhere or not. IMO a Django set purporting to be "complete" makes real sense only if it would encompass the DIFFERENT labels his recordings appeared on. Otherwise you always end up with the same kind of piecemeal hodgepodge affair where you wonder why this or that recording that you remember among his key recordings isn't "there" - until you remember too that it originally was out on a different label that now is part of a different conglomerate. Which IMO would make him a more than ideal candidate for a really comprehensive reissue by one of those European P.D. labels, BTW (though I think they, too, are aware of the fact that so much by him has been recycled so very often).
  8. Esquire London Jazz Classics 25 title series

    Don't forget Tommy Whittle, Sidewinder!
  9. "Mingus Three" pianists

    Yes, that looks more like it. Thanks for the reminder.
  10. "Mingus Three" pianists

    Maybe. it was a freely accessible site that contains more transcribed inteviews beyond those included in the book I cited (but referring to that Oral history project). I cannot remember having had to go through that many steps in the "Oral history" section before being able to access the transcripts. But the site may have been changed since i went there quite a few years ago.
  11. So, What Are You Listening To NOW?

    Like Optatio said - this was young Wynton. A far cry from JALC bigwigdom. I guess most evaluations of this kind of record made today are based on what people tend to project into him TODAY (and do not like about him TODAY), maybe as another variation on the theme of "oh that self-proclaimed moldy fig has reaped all the rewards and occupies all the key positions where he can pull all the strings whereas oh so many oh so deserving (avantgarde etc.) musicians barely eke out a living in jazz though THEY ought to receive all the honors because they are much more valuable artists". Understandable sentiments but beside the point ... Making your art appeal is part of the game too. Reminds me somehow of quite a few of those 50s/60s/70s musicians who rode the "swing mainstream train" even as new artists on the scene and did not embrace all the latest fads in far-outness (and therefore came under heavy fire from the critics in many places - a bit unfairly IMO).
  12. I remembery buying "Bird Is Free" on Charlie Parker Records (along with Bird Symbols) around that time too - and guess what? "Sly Mongoose", of all tunes, left a particular impression on me - due to its catchiness. Cannot recall Bird and Diz getting attention beyond their status as "forefathers" of (then-current) jazz among my age peers, and to them Miles was "Electric Miles" (etc.) only anyway. IIRC the Paris 1949 LP was my first Miles leader LP I ever bought (yes, I often explored artists chronolgically). Apart from that - not much hanging out with long-haireds here ... by that time others had started growing some DECENT hardo again , and I always did my own thing anyway. "Kitchenette Across The Hall" - Google brings up Tadd Dameron-Fats Navarro only, but that is only half the story IMO. The Navarro-Dameron version really comes to life only after you have heard one of those "real", STRAIGHT-pop vocal versions that must have been out there in the 40s. When I first heard a straight rendering of the tune years later I was sort of dumbfounded, I must admit ... I may even have a vocal version by one of those chirps or warblers on 78 somewhere but for the life of it cannot remember the artist and where to search for it now.
  13. Strange .. this brings back memories from my own start in jazz, though I never was a musician and was sort of an outsider digging swing and bop in those days (others among my age peers who claimed they liked "jazz" in those mid-70s were - predictably - all about "jazz rock" and "fusion" - plus some "free" - as being THE latest (and - to them - sole) word in jazz ... ho hum ... ). I am not sure whether it was the Miles Davis-Tadd Dameron Paris 1949 LP on CBS or the "Mating Call" LP feat. John Coltrane on Prestige-Bellaphon that I purchased first at that time (I did not manage to get my hands on the records with Fats Navarro until sometime later). I had read about Tadd Dameron's importance within 40s bop before and I remember I bought the Paris 1949 LP when it came out too, and when I bought the Mating Call LP I figured this was about as far out within hard bop as I'd dare to venture at that time (you have to EASE your ears into the music after all ) but Tadd Dameron's tunes and scores made it all immediately accessible. At any rate, what struck me about Tadd Dameron from the very first moment (and still does) was how he kept coming up with those little melodies and catchy turns and twists that made you almost hum along. "Bop with a melody" in a way ... The impression this made on me was not totally unlike the Gigi Gryce tunes and scores with Clifford Brown on those 1953 Paris sessions (which I had gotten at roughly the same time and spun a lot too).
  14. "Mingus Three" pianists

    Considering how much dust this Central Avenue subject seems to stir up here, just a reminder that the "Central Avenue Sounds" book by Clora Bryant et al. (University of California Press) is not the worst source for background info on the happenings on Central Avenue in the 40s etc. and should complement the "Black California" sections of the West Coast Jazz books by Ted Gioia and Robert Gordon (for those so inclined) rather well. Additionally, there is an online source somewhere connected with the makings of the Central Avenue Sounds book that has quite a few more interview files with musicians to read up on. Can't find the link now but hopefully it is still up (googling should help). Reading might be a bit long, though (some of those transcribed oral history recollections invariably tend to ramble on and on and on and get a bit unfocused here and there).
  15. Dear BBC: Make that Piemonte (Italian) or Piemont (regional dialect) and don't mix it up with the Appalachians. There is no need to anglicise EVERYTHING. https://it.wikipedia.org/wiki/Piemonte