Big Beat Steve

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About Big Beat Steve

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    Dr. Funkenstein

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  • Location Southern Germany

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  1. Whither Allen Lowe?

    I can only second (or third or whatever) what everyone else said. Hang in there, Allen, I'm crossing my fingers for a full recovery that will happen as fast a humanly possible. Your contributions to music matters are needed very much.
  2. Just one remark abut Scott DeVeaux' "Birth of Bebop" book: I bought it when it came out (despite the hefty import price) and enjoyed reading it a lot as it covers one of my core periods and styles of interest in jazz. BUT - what's that grossly inflated amount of space allocated to Coleman Hawkins? Much as I enjoy all his 40s recordings and realize he had quite a few of the "young turks of Bebop" working in his groups at various times, isn't that rather a lopsided description of 40s jazz (and its protagonists) as it evolved into bebop/modern jazz? To me this somehow detracts from the overall impact of the book as IMO it seems the author has an agenda that goes beyond the historically balanced presentation of the facts and I would not be surprised if in some circles this would lower its credibility as a reference source. What would you, Mark Stryker, as a renowned author have (or like) to comment on that aspect of the book? Yes, and one minor detail about the online version of your (very interesting) story. The reissue label of McGhee's Dial recordings is Spotlite. not Spotlight.
  3. Clifford Brown revisited

    IMO his Savoy recordings of 1946/47 are just as essential.
  4. Clifford Brown revisited

    Amazing ... As I explored the styles of jazz jazz more or less chronologically from when I started buying jazz at the age of 15 in 1975 my cutoff date of my own purchases was just the other way round ... Anything past 1956 would need a LOT of careful scrutinizing and listening in lest I fall into the sinkhole of too far-out post-bebop modern jazz or even free jazz ... (remedied since, of course, but the preponderance of my stylistic preferences has remained ...) I was 16 or 17 when (during a high school class stay during Easter holidays in London) I bought the 3-LP UK Vogue LP set of the "Clifford Brown in Paris" 1953 sessions at a record shop virtually next door to where the Bloomsbury Books Shop run by John Chilton' wife Theresa used to be. I cannot recall what made me spring for Brownie at that time but I did not regret the purchase one bit and have not looked back since with other Brownie purchases. +1
  5. Jazz guitarists--nice guys?

    From what I've read about Tal Farlow he must have been a very easy-going and pleasant guy.
  6. Found: William S. Fischer

    When you said you googled the guy and found he had done that album, how did you arrive there? No hook or detail that would get you started in remembering the name?
  7. Found: William S. Fischer

    So you actually have the name (and this is a riddle) or not?
  8. Found: William S. Fischer

    If so, this is the one. The DB review gave it 2 1/2 stars. Nat Hentoff found it "exercises being worked out, sterile, often cold ..." I remember it being more interesting than that (IMO) and - Nat Hentoff or not - found the review to reflect tastes of the times in certain circles that were a "period thing" but not everlasting gospel. But will have to pull it out again to listen.
  9. Any idea who’s the drummer and bass player might be?

    Jazzbo Collins.
  10. Any idea who’s the drummer and bass player might be?

    Sunglasses and goatees make you age in record tempo!
  11. So, What Are You Listening To NOW?

    Amazing to see how often this photograph has ben recycled. Below: Top - cover of JAZZ HOT, January 1960 (the original issue of that pic), bottom - cover of SOUL BAG special issue with John Lee Hooker discography (published in October 2001) Does the ACE booklet cedit the photographer (Jacques Demêtre)? Hope they pay his estate the royalties due.
  12. Any idea who’s the drummer and bass player might be?

    Credit goes elsewhere too. This photograph has been reprinted often. The "Black Beauty White Heat" book (first published in 1982) also indicates the two unknowns are Eddie Robinson and Little Benny Harris (p. 319). So credit goes there.
  13. Sonny Stitt. Why didn´t he become as famous as Dexter?

    I don't have the full picture to judge this either but I would not be surprised one bit if you were right.
  14. Marc Myers on jazz geniuses

    An interesting discussion, but - apart from the fact that it has led FAR away from the question of the validity of the original "best" listing (debatable at any rate), it may not lead to any consensus just because there are SO MANY differnt stylistic islands of jazz that really ARE islands today because the common ground (that may have existed up to the hard bop era) just isn't there anymore with all that is lumped in under the "jazz" tag today. @Rabshakeh: Since you brought it up: What DO "Rare Grooves" as a genre in itself mean to you anyway? I am certainly a bit older than you (and in the opinion of some may have "old fart" jazz tastes ) but when i became aware of the "Rare Grooves" bins in the record shop at the time this category all of a sudden was all over the place I browsed them casually here and there - and you know what ... my basic impression (apart from the fact that some of them indeed were a sort of DJ playlist sampler) was that many were just compilations that included tracks a wee bit off the trodden paths of the too well known. But to those in jazz who took a passably deep interest in the jazz style in question those "grooves" cannot have been all that exceedingly rare either. (Ha, are they part of the "expert level jazz audience", then? ) So those "Rare Grooves" merchants seemed to have lived on the fact the "Rare Grooves" listeners were fairly clueless in what there was in recorded jazz after all. A bit like with Northern Soul, another category that seemed to have been made up form a similar background. DJs from Northern UK club bases making up their playlists of fairly rare stuff. But rare enough for other soul collectors? And a misnomer in that it had nothing to do (except by geographic coincidence of the recordings) with Northern (e.g. Detroit/Motown)-based Soul as opposed to "Southern" (Stax/Memphis, for example?) Soul? All in all, marketing tags - yes, but styles of jazz??
  15. Sonny Stitt. Why didn´t he become as famous as Dexter?

    Don't you know that Sonny Stitt had always been accused of just having been a Charlie Parker copycat? (Despite assertions that he had come to his ideas and style on his own and had the basics of his style set before Bird exerted any further influence - something which we will never know for sure one way or another - but REALLY "one way or another" - but the benefit of doubt did not apply to him, it seems) So THAT accusation alone at THAT time would have done him in with many on the scene.