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Everything posted by brownie

  1. Your Starting Five

    My ultimate avant-garde quintet would be: Don Cherry Albert Ayler Cecil Taylor Henry Grimes Sonny Murray
  2. Your Starting Five

    Clifford Brown Charlie Parker Horace Silver Wilbur Ware Art Blakey Bud Powell or Thelonious Monk should be the piano player but Silver would make this a real unit. Wish I could have this on an album.
  3. Bird's Trumpet front-line partners

    I voted for Dorham. It's when he was playing with Bird that KD matured to become the great trumpet player he grew into. Dizzy is the obvious choice (agree with Connoisseur series500: he should have been left out) and the obvious winner but KD is my favorite player of the lot.
  4. Softly as a Morning Sunrise

    There is also a stunning version recorded at the Village Vanguard (is a playing of 'Softly as a Morning Sunrise' required by the management whenever groups are booked in the club?) in the just released 'NY-1' Blue Note album by Martial Solal.
  5. Softly as a Morning Sunrise

    The Village Vanguard Rollins/Elvin and the Coltrane/Elvin versions are indeed the best. But I also like what Milt Jackson did with 'Softly' in the 'Concorde' (Prestige) album by the Modern Jazz Quartet.
  6. Gemini Records

    Bought yesterday a CD I had not heard about yet. It stars one of my favorite 'Brother' Al Cohn. From the Norwegian label Gemini, the CD 'We Remember You' features Al Cohn live with the Totti Bergh quintet and singer Laila Dalseth. I already had an excellent Gemini LP that featured the same crew. This one was recorded live at the Oslo Jazzhus on August 8, 1986. Gemini has an interesting catalogue gemini-records that includes a Zoot Sims/Scott Hamilton CD and other interesting items.
  7. AAJ / Organissimo / JC

    Do you enter the AAJ Forums? I have no problem going to any of the AAJ sites but all I get when I hit the 'Forums' is that blank page.
  8. AAJ / Organissimo / JC

    Have tried for the past couple of days to take a look at AAJ but all I get when I connect is a page that is blank except for the top section with the AAJ logo. I have been away from that board for the past month. Is there a problem there? Or is it just my computer?
  9. "Your Name in Lights"

    I used to write articles in French jazz magazines decades ago before I got started into a real journalism career. I was at the G8 summit in Evian earlier this week and a local tv station came by the area of the US organisation I work for. Since I was the only French-speaking in the area, I was asked to answer questions and give impressions on the summit preparations for the station's evening news cast. I happened to mention I had covered the very first summit (G7 at the time) in Fontainebleau near Paris in 1975. And quite a number of G7/G8 summits since. That day, I had no time to watch the evening news. But obviously a lot of people did and mentioned seeing me on TV. And the national France 3 people came the next day to ask if I could grant them an interview but I was too busy with other things by then. So much for my latest moment of glory. I may also mention that my son was impressed when he did a Yahoo/Google search recently and found a couple of dozen entries (a mix of jazz and journalism) under my family name.
  10. I'm with Jazzhound. The originals are really worth the search.
  11. Avant-Grease & Mixed-Meter Boogaloo: brainy stuff

    'Mama Too Tight' on the Impulse album of the same title by Archie Shepp (he was 'avant-garde at the time') is real greasy music.
  12. Clarinet Recommendation?

    Hey, let's not forget Tony Scott. The best of them all. His RCA albums have been reissued by Fresh Sounds. FS also reissued (a double-CD) the sides Tony Scott recorded with Jimmy Knepper and Bill Evans). Also Jimmy Giuffre. The Atlantic albums were gathered by Mosaic. Must-listen music.
  13. Martial Solal

    Wish I were in New York this week. Solql qnd Konitz always produce beautiful music.
  14. Favorite Hitchcock Film

    'Lifeboat' is a great film. Period. I would rate it over 'The Rope' which has been discussed by various posters. And it stars Tallulah Bankhead - as a journalist - in her best film appearance ever. And for jazz fans, she has a very special appeal. She was very (sometime very, very) friendly with musicians (Sidney Bechet among others). Stan Getz also was on a Tallulah Bankhead recording date.
  15. Who Is Your Favorite Soul Singer?

  16. Here's a cover I hadn't seen before...

    Wade Legge was the pianist with the 1953 Dizzy Gillespie group. That's when he recorded this Vogue 10incher that was released by BN in the States. He is also the pianist on the 'Sonny Rollins Plays for Bird' Prestige album with Kenny Dorham.
  17. See you later!

    Interesting things happening to you. We'll miss you while you're away. Best of luck on your various enterprises.
  18. Favorite Hitchcock Film

    I'll have to vote for 'North by Northwest'. Have seen that one dozens of time and can't escape the thrill of it. Cary Grant is not my favorite actor but he is superb in that one. And then Eva Marie-Saint is the perfect Hitchcock blonde (better and more humane than Grace Kelly). Too bad Hitchcock did not cast her in another film. James Mason and Martin Landau also have superb parts. And Bernard Hermann's music is perfect.
  19. Stupid Drinking Game

    Bernard Peiffer
  20. French sountracks 10-inch reissues

    Claude asked: The 10-inch LP reissues showed up in Paris. They obviously were limited editions and seem to have disappeared fast. They were also re-reissued in CDs and these should be available without problems. I have the original 10LP issues and did not get the vinyl reissues to check on sound quality.
  21. Universal France will release this week a new series of 10-inch vinyl albums reissues. Included in the next batch are the following exact replicas: - the sountrack to the 1959 film 'Un Temoin Dans la Ville'. Music by Barney Wilen, played by Kenny Dorham, Wilen, Duke Jordan, Paul Rovere and Kenny Clarke, - the sountrack to the 1959 film 'Des Femmes Disparaissent'. Music by Art Blakey and the Jazz Messengers (Lee Morgan, Benny Golson, Bobby Timmons, Jymie Merritt). Both were originally released by Fontana. No idea if the sound has been 'improved'. Other 10-inch reissue LPs include albums by Henri Salvador, Serge Gainsbourg and Brigitte Bardot.
  22. RIP Sandman Sims

    Never had the privilege of seeing him do his executions at the Apollo but I heard he could be rough. NEW YORK (AP) _ Sandman Sims, the famed tap dancer who chased unpopular acts off the stage as the "executioner" at the Apollo Theater for decades, died May 20. He was 86. Sims taught footwork to boxers Sugar Ray Robinson and Muhammad Ali, and his dance students included Gregory Hines and Ben Vereen. Sims, who once boxed himself, earned his stage name by dancing on sprinkled sand, a technique he pioneered while trying to mimic the effect of dancing in the rosin box before entering the ring. When he won a National Heritage Fellowship from the National Endowment for the Arts in 1984, Sims used the $5,000 fellowship to teach dance to children in a Harlem parking lot. Born Howard Sims in Fort Smith, Ark., Sims grew up in Los Angeles and came to New York in 1947. He danced at the Apollo for 17 years, acting as the "executioner" beginning in the mid-1950s. He also stage managed the Apollo, owned a cafe, and worked as a carpenter and mechanic, and was a regular in the vaudeville scene. The poet Sandra Hochman wrote a play about Sims in 1986 called "The Sand Dancer."
  23. No reason to blush about the reviews on the the original edition. I got that one. A very interesting (and very instructive) read. Will get the new book if it contains new - and worthy - material.
  24. Nice article on Henry Grimes in the New York Times today: Silent 30 Years, a Jazzman Resurfaces By NEIL STRAUSS In avant-garde jazz circles in the mid-1960's, Henry Grimes was one of the most respected bassists working. Trained at Juilliard, he had already played with Anita O'Day, Charles Mingus, Thelonious Monk, Gerry Mulligan, Miles Davis, John Coltrane and Sonny Rollins when he was in his 20's. He went on to play on some of the seminal albums of the free-jazz era, by such musicians as Cecil Taylor, Albert Ayler, Don Cherry and Pharoah Sanders. He was known for his ability to alternate from long Eastern-sounding bowing to hard pizzicato plucking, all of which generated tremendous calluses on his hands. But in the early 70's, after moving to California, Mr. Grimes disappeared. For three decades nobody in music circles heard from him. Several reference works listed him as dead. And that is how the story of Mr. Grimes might have ended if it were not for a determined fan from Athens, Ga., named Marshall Marrotte. Mr. Marrotte, a social worker, pored through court records and death certificates and interviewed family and friends of Mr. Grimes's before finding him earlier this year living in a one-room efficiency in downtown Los Angeles. According to Mr. Marrotte, Mr. Grimes no longer owned a musical instrument; he had never seen a CD, although his work is on them; and he was unaware that many of his colleagues had died, including Ayler, the tenor saxophonist, who was found drowned in the East River off Manhattan in 1970. Now, thanks to Mr. Marrotte and the bassist William Parker, who donated a bass that Mr. Grimes received two months ago, Mr. Grimes is back on the music scene and plans to stick around. "My calluses are in good shape, you know," he said last week, speaking from the lobby phone of the hotel efficiency where he still lives. Tonight, as part of the avant-garde jazz Vision Festival in New York, Mr. Grimes will perform with Mr. Parker and others as part of a memorial concert for the singer Jeanne Lee at Old St. Patrick's Youth Center (268 Mulberry Street, between Prince and Houston Streets). That performance will be his first in New York since he left in 1968. Mr. Parker, a founder of the Vision Festival, said Mr. Grimes's versatility was impressive — he could play with a wide range of jazz musicians and innovators. He also coaxed a distinctive sound from his bass. "On the records he was on, he stood out," Mr. Parker said. "He had a big sound, and it really punched out whatever ensemble he was in." Mr. Grimes said that he knew the music he was making in the 60's and the musicians he was playing with were "fantastic." But one reason he went into "isolation," as he put it, was because his "perceptions" — a word he uses when talking about making music — were continually being clouded by his emotions. "Emotions can get you in a lot of trouble or hassle," he continued. "And you can either let them bother you or you can find a way to get something out of them." When he left the East Village decades ago, "economically I was in no shape at all," he said. "My money was down to nothing. So I came to California, where the sun shines. Mostly that was the idea. I didn't want to be subject to the cold." The last person he remembered playing with was with the pianist LaMont Johnson in the early 70's. Soon after, he sold his bass to a violin maker. "It wasn't enough," he said of the money he received. "But I still sold it anyway. I was feeling that was what I had to do, so I just did it." It seems strange that one of the in-demand jazz bassists of the 60's could just walk away from music, but to hear Mr. Grimes talk, it sounds as if 30 years was just a short vacation. During that California period, sometimes he was homeless, he said. He survived by working as a janitor at a Beverly Hills Hebrew school and at a bowling alley in Long Beach. "In between those jobs," said Mr. Grimes, now 65, "I did a little construction work. It keeps me in shape now." As for royalties from his recordings, Mr. Grimes said he received none and never even thought about it after leaving New York. (Now, he said, he may seek advice on how to pursue payments.) Though Mr. Grimes is vague about why he disappeared, in an interview with Mr. Marrotte, he said he said he took medication for manic depression, which he said cleared up in 1978. One of the first things that Mr. Marrotte did when he found Mr. Grimes was to reintroduce him to his music. "I was amazed," Mr. Grimes recalled, "because I listened to some CD's of some of the Cecil Taylor and Albert Ayler things, and some of my music. At the time, I didn't pay that much attention to them. But when I listened to them again, it was amazing what I heard. There was more to it than I ever realized." Despite his lost years, Mr. Grimes said he had no regrets: "I'm working on straightening things out now. But I'm back for good." Copyright 2003 The New York
  25. I was on a Clifford Brown trip when I started posting on another board. Have been a fan of his music for decades. And still getting kicks when I play his records for the thousands time.