Big Beat Steve

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  1. Allan Botschinsky (1940-2020)

    RIP To make the thread easier to find for anyone looking for that particular jazzman in the future, could you change the title of the thread to the correct spelling of BotSchinsky?
  2. Miles/Dameron/Moody Band - Paris 1949

    You mean the tracks listed individually in "Miles' DIary" (pages 27 to 29, 8 May to 15 May 1949)?
  3. Actually I have since read that chapter by and on the one I disrespectfully referred to as a "Johnny-come-lately" (Jason Moran) but I'll reserve my comments until others who have read the book and that chapter have given their opinions. And yes - warts'n all, I still recommend the book wholeheartedly to anyone interested in the "live" atmosphere of 40s and 50s jazz.
  4. He makes his case very thoroughly, and this is an interesting piece to read (and to think about)
  5. Esquire Records Covers Club

    Which is why they tagged that bin "Rare as rocking horse manure" too. I remember seeing that bin downstairs during my stopovers at Ray's too in the mid- to late 90s. The Prestige 16rpms they had at the time were beyond my financial reach but a couple of years later I found that Wallington/Woods (Prestige 5) on eBay at a price that wasn't cheap but very, very correct.
  6. looking for: 30's jazz recommendations

    Oh my ... Where to start and where to end ... Particularly after all that zigzagging of recommendations already listed above (hard to avoid duplications of recommendations and of contents now) ... First of all, I assume you do not want to end in 1939 sharp but are referring to ´the SWING ERA. And since you mention them I'd recommend ALL of the Jazz Archives LPs. The DO fill gaps in a useful way ... (But not all of them are airshots or live recordings) Also take a close look at the entire U.S. RCA Bluebird twofer series from the 70s. And while you are at RCA (and not knowing to what extent imports are available in your neck of the woods), if you go for the black cover single LPs from the French RCA "Black and White" series, check the avilability of the (somewhat more recent) French RCA JAZ TRIBUNE "Black and White" DOUBLE LPs first. The contents of the two reissue series overlap and duplicate but somehow I find the Jazz Tribune twofers better organized/programmed. When you dive into Decca/Brunswick territory, check out the later 70s/80s Jazz Heritage LP series on MCA (both US and French pressings are around). Some of my perennial favorites overall: A killer all the way! Somewhat overlooked but very impressive. The two Black & White albums will give you their entire output whereas the Vintage Series LP has a fine selection of the essentials. Depends, then, on which is available easily at the right price for you. A very fine compilation Another unsung hero (to me anyway ...) Also check out some of the V.A. albums/box sets that must be around. They can serve as appetizers for more specific explorations and also often include recordings off the beaten (pun intended ) tracks that you are not that likely to find elsewhere. And this one (available in various reissue guises) is essential listening, even if it also goes back into the 20s. And of course ANY Decca/Columbia Count Basie (reissue pressings too numerous to mention - he is covered in the MCA Jazz Heritage series too, among count(pun again intended ) less others). For a starter, I like the one below for its period-correct artwork (duplicating a 78 album) Next up, if you can find them, get the FATS WALLER reissues on French RCA (Black & White) - two box sets and numerous LPs. These would be the easiest way to avoid too many duplications among the many reissues that have been released through the decades. On the "whiter" side, I have a soft spot for CHARLIE BARNET (the RCA Bluebird twofers are your safest bet), JAN SAVITT (Yes I know, tastes differ ... he has a handful of LPs on that much-maligned older 60s MCA Heritage series and on Bandstand, Sounds of Swing a.o.), and ARTIE SHAW (RCA Bluebird twofers again ...). And for some good-natured entertaining 52nd Street fun, do try these (there are FOUR vols. by Prima there - all recommendable): And all this still is only the tip of the iceberg (as others will confirm ...).
  7. CDs that are unreadable

    If bebopbob says this hapened on brand new CDs to him then this is odd, though. I have had a possibly related case that I found hard to explain: A brand new CD (released just before I bought it, so no "NOS" ) consistently skipped and garbled (skipping to and fro on a particular track) on the same track whenever I tried to play it - despite numerous tries (a check of the CD player did not yield anything wrong). Trying to save the contents, I then burnt a CD-R of it on my PC and this one has played perfectly ever since. Strangely enough, the actual CD behaved OK again when I spun it later (much later) again.
  8. Clifford Scott

    Well, on checking further now I found that Discogs DOES have an answer: So this shows he was billed that way on at least three of his 45s.
  9. Clifford Scott

    Could this have been the way he was billed on the 45s he recorded on his own, notably for King, in the late 50s?
  10. Ella's auto

    Ask Jay Leno, maybe?
  11. I received my copy and have browsed through it for a while now. The book is a gem for anyone interested in jazz (and jazz-related R&B) of that era - the layout is fine and not out of tune with the typical graphics of that period, the reproduction quality of the photographs and memorabilia is very good (decidedly better than in the Parker & jazz memorabilia book published by Lincoln Center) and the atmosphere of the clubs comes across. Leafing through it, you can get lost in a lot of details. So - already on the strength of its visual impact (a few inconsistencies of pictures that clearly fall outside the scope of this period notwithstanding) this really is a very nice pictorial companion to listening to recordings (preferably live ones ) from that era, and can be recommended to 40s and 50s jazz buffs, warts'n all (a bit about warts further below ). The texts will take me quite some time reading and digesting in detail (I am looking forward to the chapter by Dan Morgenstern, in particular) and I cannot comment on the factual accuracy of the descriptions of all the clubs covered in the book so am taking the contents as they are (some with more detail knowledge might want to comment eventually, maybe, if they find errors to highlight ...). But I just had to take a closer look at the interview with fashion notable Robin Givhan first and must say that I am unimpressed. Judging by many of his questions and triggers, the author comes across as someone overawed either by the subject or by Ms Givhan and the contents and sequencing of his questions often don't help (sure you can comment on if and where 40s fashion has been picked up by more recent designers, but not at the BEGINNING of such an interview - that's an anti-climax of sorts in the light of what is discussed later). OTOH what Ms Givhan has to say often strikes me as a mixture of unfocused rambling (on the basis of "I gotta make statements about it"), speculations (e.g. about why the patrons on these pics were so happy and flirtatious - I mean, were they supposed (or willing) to look grumpy and bored stiff when a pro photographer sneaked up on them to catch them in the act and sell them back the souvenir pic ??) or something bordering on cluelessness when she muses about how and why everyone was so well-dressed. (Did she ever have a closer look at what people commonly wore back then out in the street and even more so when heading for a "night out"? A closer look at some Shorpy pictures would have helped too.) Even the young ones often did dress up, far into the 50s (though her claim that "it wasn't until the late 60s when adulthod didn't necessarily mean dressing like your mother" rings decidedly false to me). Doesn't take much fashion scribe specialist knowledge, just some advanced awareness of and interest in period styles. So what she said somehow lacks in substance in explaining the fashion of the day and in its historical context (at least to me). I am not so sure either about how they stress race must have been a non-issue in the world of these jazz clubs. So somehow I really feel they did this interview to get her celebrity name on the cover as a selling argument, but IMHO someone, say, actively and deeply involved in the Neo Swing (sub)culture would have been at least as qualified to comment on the fashion of THAT era and on its social and societal context. Ho hum ... (but that's just one chapter, so not that much harm done ... ) Another quibble: For practical reasons, an index of the clubs described and shown (as in the Charlie Parker and jazz memorabilia book) would have been very handy for easier referencing in the book. So ... anyway ... anyone interesting in adding a somewhat different visual slant to your listening of 40s/50s jazz - go get that book!
  12. Ella's auto

    @JSngry: Weeelll ... definitely about the cars as far as their suitability for the typical urban and suburban streets around here is concerned (many of these tanks are way too bloated for that), and coming to think of it (now that you raised that point ), a bit about those drivers/driveresses too who clearly are inept at handling their cars in a space-saving and smoothly advancing manner in these streets (to keep traffic flowing) because - though seated up on high in there - seem to be unable to see and understand where their cars begin and end. If you've seen them trying to maneuver their SUV monsters through suburban streets often laid out in the 30s/50s and OTOH recklessly parking them in a way that most of the times blocks TWO parking spaces then you have little respect, patience or sympathy with them. Though I do not expect all of the 'murricans to really understand that ... But the urban space situation very often just IS different here ...
  13. Ella's auto

    Congrats and hats off, that Stude is an interesting car, and not one likely to be seen at every run-of-the-mill classic car meet (contrary to Tri-Chevies, Impalas, Camaros and the typical Fordlore, etc. ). I regularly drive Mopar offshoots that as it happens were also present on the US market - I own three from the range shown here: No, they don't drive like today's cars and you have to use common sense and exercise caution in traffic and really have to take them consciously into your hands (like any old car from that era) instead of just relying on a zillion of comfy gadgets but their size makes them VERY handy and whizzy in suburb traffic, contrary to many, many of those SUV pieces of shit totally ill-suited to European cities.
  14. I think that would be a first among Savoy LP covers from that period. They very often used generic "whitened-up" photographs, including for jazz and R&B LPs. So let's just use this one for Dexter's ride instead, OK?