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umum_cypher

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Everything posted by umum_cypher

  1. Don't know and I'm not sure who it is. I just thought Jymie Merritt was an older (middle-aged) cat by this time. This guy looks pretty young, whoever it is. Jymie was probably mid-40's at this time. guessing the trumpet was Jimmy Owens and the sax, maybe Harold Vick?!? It is Jymie Merritt. Sadly I gather he isn't too well at the moment.
  2. A friend of mine writes documentaries for the BBC, usually co-productions with the Discovery Channel. The DC demand those constant foreshadowings and recaps so as not to lose the (evidently generally slow and easily bored) existing audience, and to draw inveterate channel hoppers in. I suppose the style has caught on in house too. Responses to other posts - So, the edits to the archived Jazz Library programmes are only on the tracks themselves - you don't get much more than a minute for each track, presumably part of the licensing agreement. If NHOP is full of himself (justifiably, IMHO) listen to the Martial Solal one. Crafty chap. Re Jazz Goes to College - the Monk quartet did one in 1966 at Cambridge. Chris Sheridan's discog says that a tape exists in a private collection, but when I contacted him about this a couple of years ago he told me the collector had died and that was that. The video may well have an Episode of Cash in the Attic on it by now instead, unless the guy chipped off the little plastic tab thing. When the BBC's efficiency drive is through we will more likely look back at today as a golden age for jazz programming. I don't think things will get any better, anyway.
  3. If it were a stamp you could retire tomorrow.
  4. Alyn Shipton is finishing a Nilsson biography at the moment.
  5. From my book on Lee: The window, I believe, was at Pep's in Philadelphia. I think there was an unused arrangement, too. That third Olympia volume is fantastic, BTW. Wayne is really at his best (within the constraints of the bish-bash routine).
  6. My thoughts, exactly. Apologies if this has been mentioned earlier in the thread, but I've been watching a video of a German TV show from 1965 which, judging by his response, seems to represent the first time Johnny Griffin had heard Solal. After Solal's first solo, JG walks around the piano shaking his head, saying 'ridiculous!'. And indeed it had been. Wes Montgomery is also in the band (same time as the thing Niko mentions above). Not a bad lineup.
  7. I'm sure yours are slightly different and much nicer. Besides, it's the wattle and daub effect that makes his look silly. Don't tell me you've got a wattle and daub basement now.
  8. It sounds grim though, doesn't it: 'Maybe the easiest way of describing the show's content (apart from listening and enjoying the show first hand which is by FAR the best way!!) is to tell what its NOT ....... I exclude early boogie woogie.....in fact I exclude the 20's and 30's (almost) completely and there's precious little from the 40's...........I exclude atonal avant garde jazz......I exclude 'elevator' music/muzak...............so what does that leave? .....simply the very best melodic jazz by the greatest artists who've ever graced a recording studio or stage.' I'm having a tough time reconciling the last sentence with the others. And I don't like his floor tiles.
  9. Me too. That's what it says here - blame Blakey, or Blumenthal! I'm not being funny, but it's only in the US that people say 'could care less' when what the mean is, well, 'couldn't'. Separated by a common language etc etc. Thanks for Reisner suggestion, will follow it up.
  10. It's in a Blumenthal liner note from the 70s, but I'd like to know the original source for this famous quote on Charlie Parker: 'A symbol to the Negro people? No. They don't even know him. They never heard of him and could care less'. I think there are a number of variations (it being Blakey). I remembered it as being in Notes and Tones, but I was wrong. Thanks Tom
  11. Love the 2 seconds at about 1:46 where he switches from dancing to trumpet mode - a sudden and total change in purpose and attitude. Brilliant solo.
  12. The reason I love certain periods of jazz so much is that they show that this is a distinction that doesn't have to be made. And the recent history of western art music shows it can be just as much of an aesthetic cop out to claim high seriousness as it is to aim for low fun. ('Can be': I mean serialist lick-spinners etc, not the big names). The big names are always few and far between though! I'll take MF Doom over Dolphy, if anyone ever makes me, which seems unlikely. For various reasons I spent the summer with a lot of late-80s early 90s hip hop that I haven't heard since that period, at which point I loved it. I should have left it in my memory, where most of it meant a lot more.
  13. The decreased funding for music in schools has always been the big explanation for the turn to sampling etc, and you wouldn't argue against it. But Prince Paul would, at least somewhat: This is from Joseph Schloss' thoroughly good book Making Beats: The Art of Sample-Based Hip Hop. The way that some of his producer interviewees talk about hip hop is pretty jazzoid.
  14. umum_cypher

    Moondog

    It's easy to love Moondog for a weekend. But personally I had difficulty stretching it out to a week.
  15. A 20-minute nice/depressing/nice again film by Danilo Parra on Kalaparusha is up at The Guardian at the moment.
  16. They do open it up a few days every year. You can sign up on the Handel House website to get an email when they do. I've been. As you can see, it's short on atmosphere. Handel's gaff is lovely though. He was obviously a dab hand at interior decoration.
  17. Mabern implied that this was done in two sessions because 'cats were going through a lot of stuff'. Others evidently had repertoire or consistency issues.
  18. Agreed. Alicia Keys did an unforgettable version of it on that concert right after 9/11. Agreed here too. Though not sure how much Donny's kind of freedom would have to do with post-9/11, Bushist 'freedom' rhetoric. Was that the meaning of AK's performance?
  19. I contend that a book of transcriptions of actual jazz performances by the musician universally regarded as the greatest of early jazz musicians is a book about jazz. That it is a musical description of the music rather than a verbal description only serves to eliminate uncertainty and misinterpretation, for as Henry Osgood demonstrated two years previous to "50 Hot Choruses" in his book "So This Is Jazz", calling a music "jazz" doesn't make it jazz. Hey, not disputing that this is a book on jazz, a jazz book, a book pertaining to jazz, or whatever. But there are earlier books on/about/pertaining to jazz. Schaeffner and Coeuroy's Le Jazz is from 1926. It's possible there are others. That's all.
  20. Maybe the first book of transcriptions, but not the first published book on jazz.
  21. Wow, no expense spared. But what fresh hell is this this Herbie project?
  22. Looks great. I hope they have it in Marseille's not-very-good Fnac, near which I'll be mooching around this weekend...
  23. Just out of cross-cultural interest, what does it mean to 'do nip-ups'?
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