Big Beat Steve

I tried a search as well but it seems like what others already said is true - the SERIES of Verve LPs out there include everything in chronolgical order but include strings and latin along with the "pure bebop" sessions. Here are two that I am aware of: This one reissued by French Polydor in the 80s: https://www.discogs.com/label/762066-Bird-On-Verve And this one - reissued in c. 1966, with German, French and UK pressings existing: https://www.discogs.com/label/1183964-The-Definite-Charlie-Parker But no doubt there were other comprehensive reissue series. Do you have access to the "Bird Lore" discography by Piet Koster? As far as I can see the reissue listings (vinyl etc.) of each track in this book are way more comprehensive (but maybe too much so ? ) than whatever is in the online Bird discography on jazzdisco.org. I got a secondhand copy of Part I (the actual discography) not long ago but admittedly did not bother to pick up Parts II and III (which "only" include listings and cross-references of the 78/vinyl issues and of CDs and really are overkill in their endless degree of detail).

In case you INSIST on an LP , the Decca big band sessions from that Classics CD can most conveniently be found here: https://www.discogs.com/master/1092962-Roy-Eldridge-And-His-Orchestra-Swing-Along-With-Little-Jazz And the WNEW Saturday Night tracks habe been recycled on many 70s budget labels, e.g.: https://www.discogs.com/release/4123929-Various-Saturday-Night-Jazz-Session https://www.discogs.com/release/2268120-Roy-Eldridge-1947-WNEW-Saturday-Night-Swing-Session https://www.discogs.com/release/9797581-Roy-Eldridge-Flip-Phillips-Mike-Colicchio-Al-Casey-Eddie-Safranski-Specs-Powell-Mel-Tormé-Fats-Nava https://www.discogs.com/release/3470450-Fats-Navarro-And-Allen-Eager-Saturday-Night-Swing-Session

Now that's one topic I very rarely look up.

Pee Wee Russell as seen by George Wettling (and as published by Eddie Condon in his "Scrapbook of Jazz"): 😁

Really?? It was the third post in THE BELOW thread as recently as last June: Which also included the (excellent) "Kind of Blue" cartoon, BTW. 👍

Jimmy Dorsey Orchestra: The Bad Humor Man / John Silver (Bandstand LP 7120) But actually it absolutely ought to be in the opposite order: "John Silver" first, "The Bad Humor Man" next.

You mean he'll go right to hell?

No doubt, judging by the posts here. But as far as I can see this is the "MUSIC discussion" section of the forum. And as far as I recall other non-music artists have been discussed in that Misc. section before. For good reason and nothing wrong with that. Regardless of the merits of non-music artists in non-musical fields of their activites.

NCIS is on TV here too but I am sort of underwhelmed by the series. Too many of this type of series on TV, probably ... Certainly a sort of clutural clash ... I did notice David McCallum among the cast there, however, and his "elder authority" character does have its interest ... But I keep thinking of him above all as the actor from the "Men From U.N.C.L.E." period, mostly because at the time I really started reading in my primary school days in the 60s the Corgi Toys scale car from that series popped up in the toy car catalogs I devoured, and the name of that TV series (promoted in the catalog) stuck forever. Though I only caught a scant few episodes at the very tail end of its showings on our national TV (to the best of my knowledge it never was rebroadcast later). And of course I did not really grasp the contents of the episodes at that tender age yet and the names of the actors did not mean anything until later. But the groundwork had been laid.

And here was me wondering what jazzman (or musician) THIS was ... Wouldn't this obit thread be better placed outside the MUSIC discussion section and in the "Misceallaneous-Non-political" section? Or did he record some obscure 45 sometime in an ill-fated attempt to jump on the "celeb goes singer" bandwagon, like other sportsmen did at other times too?

Thanks for alerting me, TKK. Hard to imagine it's already 4 1/2 years since we discussed this. But I cannot contribute much to the UA albums as I don't own or know these albums. So I'll just sit and see what everybody (else) has to say and wait and be on the lookout (till copies come up somewhere, maybe). BTW, anybody else notice that the Youtube nerds who uploaded the "Very Best Of" S-F tracks (that were linked here in the 2019 discussion) saw fit to use the cover art of the "Bix & Tram" LP (of all Jim Flora artwork ...) for display? No doubt something more directly related to S-F AND Jim Flora could have been found?

The Eddie Costa Quintet LP (with the baby buggies on the cover) on the Interlude label is a reissue of this Mode LP 118.

I do have that one too. Bought shortly after the "Sure Do Pull Some Bow" CD. As for your other questions/remarks regarding early rural black/white cross-polliation (either white blues or black country), I think Allen Lowe is THE person to answer this in detail.

Re- the "Tiger Rag" novel: I cannot compare because I don't know the author you mention. I suggest you read up on its "storyline" online (to get an idea of what to expect) and then just pick up a copy if one comes your way at a price you are wiling to invest, and then you read this strictly as a novel. And then let your mind wander while reading and just wonder "what if it actually happened that way and we just have no way of knowing or proving it?" Just one "teaser" to give you an idea of what forms early Black music documented on records ALSO took (this compilation includes jazz and blues in the stricter sense but also goes beyond it): http://www.oldhatrecords.com/cd1003.html

@Allen Lowe: I now realize I ought to have mentioned your earlier compilations (including your "Turn Me Loose ..." CD set and book) for traces of aural pre-jazz documents that may indicate what developments may have been brewing in various other places at that time. @Rabshakeh: Given your puzzlement about Buddy Bolden, the brothels and other stereotypes of events and places surrounding early jazz history in New Orleans and that we will never be able to document a lot of what may have happened there or elsewhere in the musical history leading to the birth of jazz more than 100 years ago, may I suggest you get yourself a copy of "Tiger Rag" by Nicholas Christopher? Of course it ALL is purely, totally fictitious, but I think when you read it you will find yourself wondering "A lot of this reads like it could have happened that way, so what if it actually did happen that way after all?" We'll never know one way or another ...

Agree with John L. Particularly with regard to the lack of recorded evidence until the end of WWI. No doubt that there were developments going on elsewhere that went in a similar direction. Because this probably this was a "thing" that "was in the air". But they are undocumented and largely unexplored. OTOH, even in N.O. there seems to have been a lot going on that remained undocumented. I remember there was a book about early "big bands" (i.e. large-sized orchestras that were NOT marching bands but played for dacing, probably a lot were ragtime orchestras) that were active in the New Orleans area at about the period of the "birth" of jazz or even its immediate pre-history. The total of those orchestras known to have existed was about 100 and not one left a recorded trace. Yet someone managed to fill a book with their history.

I listened to Straight Ahead and The Queen Bee. Maybe it is those "Mancini" overtones (which i certainly had not recognized as such - which isn't saying much) that did not exactly put me off but made me wonder with a feeling of irritation? Could it be that it is fairly "standard" effects and patterns also heard elsewhere that are being reworked here?

OK, so let's take this one step further. I did listen to two samples of tunes on YT (investing more than 4 minutes of "my life" ) and it confirmed that i might well pick it up when the occasion arises. However, while it is not bad at all I am not going overboard either. Somehow it differs from the somewhat earlier 60s sounds of the Basie band that I am familiar with in a way I cannot quite put my finger on. To my ears it somehow sounds less "totally unmistakeably Basie". The section sound (i.e. of the full band outside the solos) sounds strangely and overly familiar for and among big bands from roughly those years. Either I've heard these tunes before (in settings where the band was not identified) or the sound and charts have been copied or recycled over and over again elsewhere - but who was first? I hope it was Basie.

I cannot recall having ever said I'd not pick up that particular record. I would, though certainly not at top/full price (which is MY decision as there are other priorities to cover too). It's just a case of being able to sit and wait until the right occasion presents itself. And in fact I did check Discogs later yesterday to see which pressing would be the most likely to surface here, and I did listen in briefly to a few YT samples. So, sorry to say but the tone of this "4 minutes out of your life" "suggestion" is not something I'd have expected from you. No need to try to "convert" the basically inclined in THIS way. 🤨 Going further back in time, I see. 1944. Available most conveniently for vinyl nerds on Circle CLP-60 and CLP-130.

Am not familiar with Basie Straight Ahead (my Basie collection fizzles out with some of the Command label recordings of the mid-60s and then starts with the Pablos again) but thanks for bringing up On My Way and Shoutin' Again. It might well be time to relisten again (particularly since I personally do like the Hefti charts for Basie, including the Atomic LP). But this will take some time. I still got about 10 LPs worth of Basie to listen to (which were part of a huge secondhand vinyl buying spree some 6 weeks ago, including some 20 Basie LPs, about 2/3 Old Testament adn 1/3 New Testament). As for recommendations of that 60s period discussed here in the most "recent" posts, strange that most should limit themselves so much to studio sessions. One live coupling (released under the The Great Concert title on the (French) Festival label) I find quite exciting are the concert recordings from the Hammersmith Odeon (London, 18 Sept. 1965) and the Juan-les-Pins festival (23 July 1968). These two concerts have also been released individually on separate records.

I know and I understand. But as always - if you do it, why not do it right? BTW, according to the jacket - and yes, contrary to contemporary reviews - the title IS "Midsömmer", as if Lewis figured an "umlaut" makes it look more "foreign". Why, I wonder ... But I realize this picky criticism comes from a non-Anglosaxon angle.

My impressions after a first re-listen (by one who has never found much in Third Stream as I still consider it a dead end of in the long run incompatible genres if your preference is to see the full vitality and swing of jazz preserved, even in its coolest forms): It's an interesting exercise but the horn men (as opposed to woodwinds) really make the difference and bring it off. (And yes, Lucky Thompson is impressive in this setting. And Little David's Fugue is nice.) These soloists may well have triggered my buying decision: "Let's give it a shot and see what John Lewis does if he has to accommodate jazz horns" Otherwise I find some of the classical/third-streamish sections a bit lengthy (though if you take them as somewhat special mood pieces ... ). And the "Swenglish" Midsömmer title is and remains silly (or should I say inept, particularly for an erudite composer?) if the composer wants to convey that "Swedish holiday" feeling as per the liner notes. It's either "midsommar" (Swedish) or "midsummer".

Amazing ... I just checked and noticed I actually own a Verve original of this very LP (MG V 8131). Don't remember where and when I bought it but I must have bought it not only because it was very affordable (vinyl is fine and shiny but cover has pretty bad water staining) but also for Stan Getz, above all, and in fact everyone EXCEPT John Lewis. Will put it on my "spin next" stack now. So thanks for bringing this up, TTK! But this ... "Aaron Sachs was on that album, so I asked him about it. He said he was sitting there practicing Bach on the flute, and everyone else was getting high or something on the break. Then John Lewis asked him what he was doing, and he told him. John Lewis thought about it for a second and said, "Yeah, maybe I should try that some time!", as if it never occurred to him before..." ... OUCH!

Thanks ... Luckily my reading knowledge of Spanish (and a wee bit of Catalan) is good enough to figure out at least the essence of what he wrote in Valencian (though it did require a lot of concentration ). Writing about something that you THINK you are intimately familiar with (Jazz which orignated in the USA) without having the feel for national or regional specificities (such as Spain in this case) is a VERY dangerous thing indeed! Particularly if you have an agenda (beyond the core subject of the biography) to maintain and to make the narrative fit your agenda. So this review does not come as a huge surprise and makes this book another one of those "ivory tower efforts".

Just out of curiosity: So what WAS your impression of the earlier Montoliu bio that you wrote about last January?