Big Beat Steve

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About Big Beat Steve

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    Dr. Funkenstein

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  1. At any rate, Cannonball Adderley is off the usual tracks of what Cary Ginell would have been expected to cover. It certainly is a surprise to see his name there (to me, anyway). His work for the "Milton Brown and the Founding of Western Swing" book was exceedingly detailed, and as the author of The Decca Hillbilly Discography 1934-1945 and co-author of the Discography of Western Swing and Hot String Bands, 1928-1942, he left no stone unturned either. Not to mention his numerous liner notes for LP and CD reissues of Western Swing. Not that I would want to pin him down in the Western Swing corner only, but Cannonball Adderley is sort of "far" removed from that field, right? So maybe this explains that? P.S. Forgot that he also brought the words and recollections of Terry Gibbs for his autobiography into book form (but I guess Terry Gibbs was an easy assignment to handle, judging by the contents of that hilarious and light-hearted work), and judging by his personal bio on the Origin Jazz label website Ginell has been an all-out hillbilly and roots music man for a long time and has only relatively recently moved away into modern jazz fields. Makes you wonder ...
  2. I'm currently re-reading this: One question I've been wondering about for some time (I also have the K.C. books by Ross Russell and by Driggs and Haddix): How come all the history and writings about Kansas City jazz were always about Kansas City, MISSOURI, but never any explicit mention crept in about next-door Kansas City, KANSAS? Was K.C. (Kansas) really "the pits" and nothing shaking there throughout these decades, and if so, was this all because there the reign of Pendergast did not extend beyond the MO. state limits, or was there a blind spot in the coverage somewhere? If the Southwestern territories around it (Oklahoma etc.) were bubbling with musical activity, something must have happend in Kansas (including "their" Kansas City) too? Any historians who can can shed some light on this?
  3. Trying to help out Mosaic by suggesting sets

    Read and think again. These items were on the Chronological Classics label. So that label is all "bum" now too, according to what you still seem to consider your overruling standards for everyone out there? How come sooo many around here drooled so much about that label, then, lamenting the fact that CC never got around in their chronology to ALSO reissuing the recordings of this or that artist from that era?
  4. Trying to help out Mosaic by suggesting sets

    Not so. Most if not all of this up until the early 50s was reissued on the Chronological Classics label. Others may have covered that field too but probably as post-CC reissues. Considering how this series has been held in the highest esteem here by many all the way for literally ages it is not approriate IMO to infer these are "shady" reissues. Which BTW even if originally done by the "Andorrans" they would not be in such cases, given how the original indie labels in all likelihood shortchanged the artists and paid them not more than a flat fee and certainly had no royalty regime. So would there be any point in greasing the palms of the estates of Herman Lubinsky et al. (pretty much regardless of who became the "estate" through buy-ups in the meantime)? An approach like that followed by Jonas Bernholm (of Route 66 fame) in the 80s of explicitly paying advance royalties to the featured artist/leader for the pressing run but deliberately circumventing the labels would have been more like it. (There were many documented cases where Bernholm's royalty payments were the first follow-up payments that the featured artists ever saw from their late 40s/early 50s releases ever since the records had originally been issued. Says a lot about the U.S. rights holders too, doesn't it? )
  5. Trying to help out Mosaic by suggesting sets

    But aren't many of these labels and sessions a classic case of labels that have REALLY become "orphaned" and where it would be pointless trying to negotiate "rights"? Luckily, most of these mid-40s Don Byas sessions HAVE been reissued. E.g. I've owned the Jamboree recordings referred to above for a number of years on an LP on the French Black & Blue label from the 70s.
  6. Mammoth graveyard found in Mexico

    When I first saw the headline of that post I was afraid this was about a discovery of the remnants of another raging narcotics gang war down there.
  7. LF: Charlie Parker Complete Royal Roost Broadcasts

    So I am one of the 7, then, I guess? And agreed on the 80s Savoy R&B twofers (and singles too, often) - and the bebop twofers too. Those Savoy reissues were some of those that i bought unheard-unseen whenever one came my way (funds permitting). OTOH, I cannot really recall those Bird Roost LPs on Savoy made it to our local record shops (though the major ones had glorious jazz and R&B sections throughout the 80s) - or maybe the few that did were snapped up lightning fast ...
  8. Liner note bingo

    Take out the Traditional to Swing guide if you should ever do a(nother?) radio set on the heyday of the Lionel Hampton BIG BAND and read up on what Wilson (et tu, Brute ... ). had to say about the Hampton big band then. (Sorry, we are getting off-topic )
  9. Liner note bingo

    Well, from what I was able to decipher on Discogs, the left column (at the very least) of these liner notes on the Metronome EP came from John S: Wilson's liner notes on the Atlantic LP (and it was there that I was able to check up on the missing "neurotic" word.)
  10. Liner note bingo

    What do you mean - "pedestrian"? Remember the era and the target group of these books. I have "The Collector's Jazz - Traditional and Swing" (1958), bought on a whim through eBay in a job lot of papers. Sure, it is no "All Music Guide to Jazz" thing - but could there have been in the 50s? To be honest, I find it quite in the tradition of "The Jazz Record Book" (Smith and Ramsey, 1943), and certainly other guides such as "Jazz on 78" and "Jazz on LP" issued as a (obviously biased ) guide by the Decca Group were not more enlightening overall. Products of their time but interesting time capsules anyway as they allow us to observe how the recordings were seen then. Come to think of it, and browsing through that "Traditional and Swing" volume right now, I find some of Wilson's comments on the artists and recordings quite enriching as well as amusing as they put things into perspective (at times a quite candid one). That said, and as for "pedestrian", if OTOH you can give me a hint on the existence of an "overdrive top gear jet-age motoring" record guide from those late 50s (catering to a similiar public) then please do let me know and I will go out of my way to source a copy for my "old paper collection".
  11. Liner note bingo

    Well, I certainly wouldn't have searched there ... No wonder ... My LP of this is the French pressing on Versailles - totally different cover and French (and France-specific) liner notes. And an EP excerpt of this that I have (below) on Swedish Metronome has severely abridged liner notes that begin way down on lthe left column of the original LP liner notes (as displayed on Discogs) which isn't immediately apparent if you haven't seen the LP notes. No gallimaufry, no guile for us "Yurpeens" ... (And search me why a previous owner of that EP blackened out the "neurotic" in Konitz' "neurotic relationship ..." with his alto ) P.S. Did you really mean John S. Wilson was hitting the "battle" and not the bottle? Anyway, the liner note portion you gave reads like fun.
  12. The USPS SUCKS

    Why? As far as I can see Catesta refererred to the Baltimore postmaster(ess) all the time when reference was made to the fucked up situation in Baltimore. Whoever got the postmaster GENERAL in in the first place in connection with Baltimore got it wrong, not Catesta. The word that Catesta may have "skipped" was a word that did not belong there in the first place.
  13. Liner note bingo

    Any hints on the album? I've browsed through the reviews in the Down Beat Record Reviews and found one more name there who seems to have had a penchant for cleverish-witty comments and plays on words every now and then. But I am not going any further with the guesswork for now, particularly since offhand I wouldn't know to what extent that reviewer also wrote liner notes ...
  14. Liner note bingo

    While we are name calling, the other name that somehow came to mind when I read your initial post was: Bill Coss?
  15. Liner note bingo

    No idea what album but was this written by Ralph Gleason, maybe?