slide_advantage_redoux

What's the general consensus on Munich's Barbara Dennerlein? I lived in Bavaria in the late 80s for awhile, and I did a handful of gigs with her. She commonly played with a front line of 3 or 4 horns. I recall her being pretty decent, and a sincere student of the organ. She took the heritage seriously, but she was so damned gorgeous that it was hard to take HER seriously. Yeah, I am being sexist so sue me. Her dad always came to all the gigs, and he carted her B3 and Leslies in. Can't begrudge her for that I suppose. I just wondered how she ranks in fellow organist's opinions.

As a kid growing up in the Dallas/FT Worth area, I vividly remember at least one cafeteria having a staff organist on duty. I have talked to JSngrey about this, and he remembers too. It was admittedly pretty lightweight stuff that the lady played (no chittlin' circuit blues there), but it was a nice slice of Americana to recall. A simpler kinder time! And it's a safe bet she wasn't playing a B3, but who knows! Maybe she had a Shirley Scott LP or two in her collection!

I know this can't be the first thread on Baby Face Willette, but after riding to a gig and back with Sngrey and having heard BFW for the first time (courtesy of same co-passenger), I am now a convert! What a beautiful record..the one with Fred Jackson on tenor. Wow At any rate, Jim spoke of the mystery of Baby Face's fate. I did a google search this morning and stumbled across this "doodlin'" website. I certainly can't (and won't) vouch for the credibility of the author of this page, but he addresses this subject, and seems to have come to conclusions. For whatever it is worth, here is what I found (and, thanks Jim for the sounds! What Lola wants, Lola gets!) http://doodlinlounge.com/Stories/Willette.html

I am trying to track down recordings of the song "You're my Everything", not necessarily vocal versions, but if they are exceptional, sure why not! What are some definitive recordings of this wonderful tune? Unusual treatments, etc. Since I started this thread a moment ago, I googled in search of the lyrics, and I see that there are more than one song with this title. I imagine that the one I seek is the "standard" or better yet, "classic" version. The version I am thinking of has the syllables "you're my ev" lined up melodically with three descending chromatic tones. And from what I see on the web, the title is the chorus of the tune. Sorry for the confusion

CAL! I just got "Latin Kick" in the mail today. I bought it on Ebay, but haven't had time to drop the needle on it. On red vinyl too! The first Tjader LP I had was "Whiffenpoof Song" on Verve. Sometime over the past 20 years, it disappeared. I have seen copies here and there, but they are so pricey!

I am a big fan and student of Cuban music, the evolution of salsa, charanga etc. I picked up a CD on Ebay by pianist Ramon Valle (unknown to me until now) entitled "Danza Negra" (Ramon Valle plays the music of Ernesto Lecuona) Very nice treatment of 10 of Lecuona's compositions...in radically different feels than originally written. Anyone familiar with this release? I am impressed with the playing of this tight quintet. Valle has major chops and tons of imaginative lines. Perico Sambeat (sop/alto saxes) is a mother-f*****! The trumpet player (Carlos Puig) has great lines, but his chops flag, like he laid off too long before the session. R. Valle - piano P. Sambeat - saxes C. Puig - tpt Omar Rodriguez - bass Heracio 'EL Negro' Hernandez - drums Nothing in the notes about the other members except their names. I assume that the horn players are German. Recorded and produced in Germany @ Bauer Studios/Ludwigsburg. 2001 Overall and excellent production. Great engineering and attention to details (no crummy jewel case here...High quality cardboard case with two flaps) Label: ACT Worth seeking out.

A little risky, laying out that kind of bread to a seller with zero feedback.

We all have experiences such as mine, but I will share anyway. Years ago I did a private party for an association of dental professionals at which many of the clients were soon well oiled. A couple of them tottered over to the bandstand and asked if they could sit in, using our instruments! Needless to say, this request was rebuffed (politely). The guitar player pointed out that his Gibson was valued at over $3K. The dentist blurted out "Its okay; if I break it, I'll buy you another one" Yeah, that inspires tons of confidence! To no surprise to many here, no one wanted to sit in on trombone , so I didn't have to say no.

I agree with you, John. He was certainly one of the most individual stylists of the genre. Coming up in the Detroit scene, he actually got to play with Charlie Parker (on one occasion at least). That may not qualify him as a "bop" player, but it sure seems to get him in the right direction! By the way, Carl Fontana - who as many know co-led a successful 2 bone unit with Frank briefly before Rosolino's suicide - is featured in the book. (deservedly so) Carl and Frank were planning on releasing an LP of their collaboration. I have many bootleg recordings of them in club and concert settings. They were the alpha and omega of jazz trombone (IMHO). Their styles complimented each other perfectly; Carl being the linear, logical and smooth player and Frank the angular, explosive and unpredictable one. To hear them in person (which I was fortunate to do, some 6 weeks before Frank offed himself) was an experience I will never forget. They pushed each other to greater levels. Sorry to get somewhat off-topic. In looking through Yanow's book further, I notice that besides Rosolino, Frank Rehak and Jimmy Knepper are two other major bop trombonist also excluded/omitted. Of course, JJ is there, as well as Bennie Green, Kai Winding, Jimmy Cleveland, Eddie Bert, Bill Harris, et al. Go figure. I do like Yanow's books, so please don't think I am against his work per se.

Despite my bias as to how important a figure Rosolino was in bebop trombone, I cannot fathom how he isn't at least mentioned. In reflection, I do agree that his personal life probably wasn't a factor. I would love to get Mr. Yanow's 2 cents on this though.

I picked up a copy of Scott Yanow's book "Bebop". Overall, I would say it is a worthy addition to a jazz library, but I have a problem with it. That being the fact that bop trombonist Frank Rosolino is nowhere to be found in the book; not even as a footnote. Feel about him as you will, but Rosolino was one of the most original soloists in jazz, and most definitely a bebopper. I don't get it. Of course he was a troubled man, and he went out in a horrible way (everyone knows the details, so I won't go on), but that should not mean he is a forgotten man. Maybe I am wrong, but I have seen this in some other books on jazz as well. Is his personal history a mitigating reason for his exclusion? Input?

Wow...For those of us who just can't get there for the show, I hope that a stuido session is on the horizon; especially if there is new material. I have had "Impact" for years, and have always treasured it. I have been looking for the second Strata East CT Big Band LP - again, for years - unsuccessfully. I don't imagine that these have ever made it to CD? If so, please tell me it's true! I know JSangrey has both LPs. I will just have to bug him to burn me a copy of the other LP (what is that one called btw?)

I was recently pointed to this site. Just in case no one here has posted this before, here it is. A good site, worthy of exploring. Thanks! http://www.jackteagarden.com/

This comes from Dallas bassist, Dan Bradford: TALKING WITH THE BAND The best time to discuss anything with the band in any meaningful way is at the middle of a song when all members are singing at the same time [such as a multi harmony part]. Our hearing is so advanced that we can pick out your tiny voice from the megawatt wall of sound blasting all around us. Musicians are expert lip readers too. If a musician does not reply to your question or comment during a tune, take this very personally. Singers have the ability to sprout a second mouth to talk with you and sing at the same time; if the singer doesn't, it's because they are purposely ignoring you; if this happens, immediately cop an attitude, we love this. When an entertainer leans over to hear you better, grab his or her head and yell directly into their ear, holding their head so they cannot pull away from you, this is an invitation to a friendly game of tug of war between their head and your hands. Disregard any respect for the musician's hearing. REQUESTS Musicians are expert mind readers. Only refer to your requests with the phrase "play my song"! We have a chip implanted in our heads with an unlimited database with the favorite tunes of every patron who ever walked into the bar, so feel free to be vague, we love the challenge. If we do not remember exactly what tune you want, it's an intentional ploy to offend you. Remember, entertainers live to be offensive; we stay up all night thinking up ways to do this; we also never get enough abuse so any abuse that you add will keep us in line. If a band tells you they do not know a song you want to hear, they either forgot that they know the tune or they are lying to you. Try singing a few words for the band; if one member halfway knows part of a chorus, the rest of the band will instantly learn the entire song by osmosis. Knowing this, if the band still claims to not know your song just keep requesting the same song ad nauseum. Never try to request another tune the band actually knows. Scream your request from across the room several times per set followed by the phrases, AW COME ON! and, YOU SUCK! Exaggerated hand gestures expressing disapproval from the dance floor are a big help such as the thumbs down or your middle finger. Put-downs are the best way to jog a band's memory. This instantly promotes you to the status of Personal Friend Of The Band. If your choice of music is a complete departure from what the crowd loves (and cannot get enough of), i. e. if they play original Blues, ignore this. Simply put a lot of money into the tip jar to bolster your argument; this will circumvent any lack of knowledge they have about your requested tune. The more money with which you tip the band, the more power you have to dictate what happens on stage. Feel free to use your money to bully the band. Entertainers are notorious fakers and never prepare for shows, they simply walk on stage with no prior thought to what they will do once they arrive. An entertainer's job is so easy, even a monkey could do it, so don't let them off the hook. The band and club's income does not depend upon numbers of people patronizing the bar; screw them. Your request is all that matters. If a metal band had played at the club for the last few weeks, the next band that follows will automatically know every metal tune the previous band played, even if the current band is a blues or country band. It's the law. Feel free to yell AC DC or SLAYER!! to a band that plays strictly originals or jazz for example. Conversely, Deadheads may yell for Grateful Dead tunes at a dance or metal band. HELPING THE BAND If you inform the band that you are a musician in a garage band or singer in a Karaoke bar, be sure to let them know that you can run rings around them and they need you in their band. In fact the sole reason the band has not exploded onto the charts is because they do not have you as their big break. And besides, that black guy singing the blues is just copying the Downchild, and Clapton, in spite of the fact that he's 63 years old. Tell the musicians unequivocally that your mere presence as a member of their band will save them from the depths of mediocrity and assure them of success beyond their wildest dreams. This works every time. If the band continues to refuse your repeated demands to perform with them, stand on the dance floor and perform with every tune they do. If they won't let you perform with them, be disruptive. Do everything you can to be louder than the band. Nothing asserts your superiority like an out of tune harmonica, vocalist or a tambourine played out of tempo. For extra credit, use these instruments in tunes that do not have them in the original recording; musicians love to play cover tunes with instruments that do not belong there; they will overlook how badly you play and will wonder how they have gotten along all these years without you. BONUS TIP: As a last resort, wait until the band takes a break and then get on stage and start playing their instruments; even if you are ejected from the club, you have made your point. The band will call you immediately the following day to offer you a position.

One thing I neglected to mention - and it is an attractive feature - is that this amp has 2 phono outs. I have never really NEEDED to have two TTs hooked up, but this amp gives the option. Now the bad news: the cat selling it said it worked the last time he checked, but now it doesn't want to power a signal. The light comes on, but that's it. Fortunately I didn't buy it, but am waiting to see if the seller solves the problem. Thanks for the feedback all.

I came across a Technics stereo amp. It is model SUV909. It is a direct dc amp. Can anyone explain exactly what that is, and what differentiates it from any other amp? I get the impression that this was a high end model. Is anyone here familiar with it? I can get it for $59. Seems like a steal. Unless I misread the info on the back of the amp, it has 870 amps. That seems extreme. Thanks again.

A dumb question for the veteran audiophiles to address: Is it possible/advisable to use pro audio gear for home stereo applications? Specifically, I suppose I speak of power amps, rack gear etc that one would normally see used with live music (ie: club, concert, etc). I have wondered if adapting a high quality pro audio amp for home use (paired with a pre amp of course so as to be able to have the phono/tuner/etc connections) would equate to high quality home sound. Of course, the speakers would have to match up, etc. Just a thought. Thanks

I was fortunate to have been in attendance at the party. (meeting Chuck was a great pleasure) I sat in awe while listening to the music in discussion. There was a hush in the room, one of reverance at what we were hearing. There seemed to be an unspoken awareness of the fact that those of us seated in that room were one of few people that had EVER heard this music that was set down on acetate nealy 5 decades earlier. It was a priceless experience. Thank you Chuck for sharing this with us. Thanks Jim for inviting me over to the soiree; the bbq was great! I can hardly wait until this music is released on CD!

Two Lps: Richard Davis trio "Song for Wounded Knee" (Flying Dutchman) w/ Joe Beck and J DeJohnette Marion Brown "Three for Shepp" (Impulse A-9139) w/ Norris Jones, Bobby Capp, Dave Burrell, Grachan Moncur III, Beaver Harris and Stanley Cowell

thanks!

Is anyone familiar with the "Cuban Originals"/"RCA Original Masters" series released by BMG? I found 3 in a used cd store and bought them all. The ones I have: Desi Arnaz (74231-69936-2) Ernesto Lecuona (74231-69937-2) solo piano Orqestra Aragon (74321-69938-2) Dates and other recording information is not given. Aside from this, these are very good releases. Are there more in this series?

I am interested in getting a CD burner...I want to dub off some of my LPs with the least hassle possible. Is there such a machine that I can work easily with? One that will perform top shelf and last a long time? I have read posts mentioning the Denon. What models do they offer/cost etc. Other brands worthy of consideration? Thanks!

I checked that URL too; much easier to decipher I admit!

I hope someone enjoyed it. Some of these I knew, but most of them were new to me.

Forwarded to me. I take no responsibility for the accuracy of these, but they are interesting nonetheless....slide_advantage Hi All.... Below is correspondence between George Avakian and his son, Greg...if you forgot G. Avakian's importance to the jazz and record industry, go to: http://www.cilicia.com/armo_article_george_avakian.html Enjoy the comments at the end of the grid. Alan K. Subject: Jazz players' pseudonyms - Great fun! Dear Greg: (and I will send this also to some friends who may enjoy the added comments) Thank you for emailing me the print-out of the Jazz Musician Pseudonyms that I couldn't download. Great fun indeed! They were forwarded to me by Wayne Wright, Woody Herman's guitarist for decades, who is a delightful wit - as was Woody himself. Love from Mom also - Dad P. S. - You might enjoy knowing about how some of them came about, so I added some comments at the end about those names that I numbered in bold type within the chart itself. ============================= Jazz Musician Pseudonyms compiled by Jack Woker ------------------------------------------------------------------------ __________________________________ Pseudonym Real Name Album ------------------------------------------------------------ Shoeless Henry Aaron Harry Allen Bob Wilber "Budafora Blowup", Arbors 1996 ---------------------------------------------------------- Gabriel Armstrong Jon Faddis Al Grey "Live At The Floating Jazz Festival", Chiaroscuro, 1990 --------------------------------------------------------- Bill Bailey Count Basie Joe Newman & the Boys in the Band, Storyville, 1954 ---------------------------------------------------------- Barbecue Joe Wingy Manone Champion, 1930 ------------------------------------------------------------ (1) Kunst Bauer Art Farmer Teo Macero "What's New?", Columbia, 1955 ----------------------------------------------------------- Buzzy Bavarian Al Gafa Kai Winding, "Dirty Dog", Verve, 1966 ------------------------------------------------------------ Johnny Beecher Plas Johnson "Sax Fifth Avenue", Charter, 1962 ----------------------------------------------------------- Sam Beethoven Jimmy Raney Cohn-Perkins-Kamuca "The Brothers", RCA, 1955 --------------------------------------------------------- Blue Bells Louie Bellson Sam Most, Debut, 1953 ------------------------------------------------------- Ferris Bender Jackie McLean Art Blakey "Night in Tunisia", Vik, 1957 -------------------------------------------------------- Ralph & Bert Berg Reinhold Svensson & Charles Norman Metronome, 1950 ------------------------------------------------------- (2) John Berks Dizzy Gillespie Slim Gaillard, Bel-Tone, 1945 ------------------------------------------------------ Dju Berry Stan Getz Jimmy Gourley "No More", Musica, 1981 ---------------------------------------------------------- (2) John Birks Dizzy Gillespie Jazz At The Philharmonic, Disc, 1946 ------------------------------------------------------------- Blockbuster Cannonball Adderley Jon Hendricks "A Good Git Together", Pacific Jazz, 1959 ---------------------------------------------------------------- B. Bopstein Dizzy Gillespie Tony Scott, Gotham, 1946 --------------------------------------------------------------- Jud Brotherly Cannonball Adderley "Ray Brown With The All-Star Big Band", Verve, 1962 --------------------------------------------------------------- Pat Brotherly Nat Adderley "Ray Brown With The All-Star Big Band", Verve, 1962 ----------------------------------------------------------------- Boots Brown Shorty Rogers "Rock That Beat", Groove, 1952-53 RCA Victor singles, 1958 --------------------------------------------------------------- Tiger Brown Maynard Ferguson Ben Webster, Mercury, 1951 "Jazz Studio 4", Decca, 1955 ---------------------------------------------------------- (2) John Burk Dizzy Gillespie Wilbert Baranco, Black & White, 1946 ------------------------------------------------------------ Joe Callaghan AndrC) Ekyan Ducretet-Thomson, c. 1954 -------------------------------------------------------------- Lord Calvert Nat King Cole The Keynoters, Keynote, 1946 --------------------------------------------------------------- Steve Canyon Stan Kenton -------------------------------------------------------------- Billy Carton Benny Carter Varsity Seven, Varsity, 1939 ---------------------------------------------------------- Unidentified Cat Gato Barbieri Carla Bley, Watt -------------------------------------------------------------- Pete Cera Pete Jolly Jon Eardley "Quartet", Prestige, 1955 Shorty Rogers "The Swinging Mr. Rogers", Atlantic, 1955 ------------------------------------------------------------ (3) Charlie Chan Charlie Parker "Jazz At Massey Hall", Debut, 1953; Miles Davis "Collector's Items", Prestige, 1953 ------------------------------------------------------------ Friendly Chap Buddy Guy Junior Wells "Hoodoo Man Blues, Delmark ---------------------------------------------------------------- Prince Charming Count Basie Kansas City Seven, Keynote, 1944 -------------------------------------------------------------- Cootie Chesterfield Pete Candoli Peggy Lee "Black Coffee", Decca, 1953 ----------------------------------------------------------- Joe Chevrolet Joe Dodge Paul Desmond "Quartet Featuring Don Elliott", Fantasy, 1956 -------------------------------------------------------- Chicago Flash Gene Krupa --------------------------------------------------------- I Ching Freddie Redd Howard McGhee "The Connection", Felsted, 1960 -------------------------------------------------------------- Ronnie Clark Herbie Hancock Roy Ayers bVirgo Vibesb, Atlantic, 1968 -------------------------------------------------------------- Clarence Clump Benny Carter Capitol, 1948 ------------------------------------------------------------ Sven Coolson Stan Getz Jimmy Raney "Plays", Prestige, 1953 ------------------------------------------------------------ Little Miss Cott Shirley Scott Stanley Turrentine "Dearly Beloved", Blue Note, 1961 ---------------------------------------------------------- G. Reat Dane Kai Winding Tony Scott bSeptetb, RCA Victor, 1955 ----------------------------------------------------------- E. Dankworth Wynton Marsalis Marcus Roberts "Deep In The Shed", RCA Eric Reed "It's Alright To Swing" ---------------------------------------------------------- Guy Denis Guy Lafitte Trummy Young, Ducretet-Thomson, 1955 ---------------------------------------------------------------- Guy Denys Guy Lafitte Jean-Pierre Sasson, Ducretet-Thomson, 1954 ------------------------------------------------------------- John Doe Howard Lucraft Howard Lucraft "Showcase For Modern Jazz", Decca, 1957 -------------------------------------------------------------- bBig Jebb Dooley Pee Wee Erwin bThe Dixie Rebelsb, Command, 1961 -------------------------------------------------------------- J. Dough Johnny Guarnieri Louis Armstrong, RCA Victor, 1946 -------------------------------------------------------------- Lonesome Dragon Bob Moses Gary Burton "A Genuine Tong Funeral", RCA, 1967 ----------------------------------------------------------------- Dan Drew Elliot Lawrence "Rock That Beat", Groove, 1952-53 --------------------------------------------------------------- Blind Willie Dunn Eddie Lang w/ Lonnie Johnson, 1928-29 -------------------------------------------------------------- Jules Dupont AndrC) Persiany Guy Lafitte, Club FranC'ais du Disque, 1954 ------------------------------------------------------------ John Durante Buck Clayton Benny Goodman bPlays Selections Featured in the BG Storyb, Capitol, 1955) ------------------------------------------------------------- Sir Edward Harold Vick "The Power of Feeling", Encounter ------------------------------------------------------------ (4) Darlene Edwards Jo Stafford "The Piano Artistry Of Jonathan Edwards", Columbia --------------------------------------------------------------- (4) Jonathan Edwards Paul Weston ----------------------------------------------------------------- Ly N. Ell Lionel Hampton Eddie Condon, Commodore, 1938 -------------------------------------------------------------- Swede Enlovely Charlie Shavers George Williams "Rhythm Was His Business", RCA ------------------------------------------------------------------ Keats Ennam Shelly Manne -------------------------------------------------------------- Maggsi Evonce Howard McGhee Leo Parker, Savoy, 1947 ---------------------------------------------------------------- Gib Fender Howard Roberts June Christy "The Cool School", Capitol, 1959 ----------------------------------------------------------------- Homer Fields Ray Bryant Clark Terry bTread Ye Lightlyb, Cameo, 1963 Charlie Shavers, Jazz Vault, 1962 ------------------------------------------------------------------ "Baron" Fingus Charles Mingus George Wallington Trio, Prestige, 1952 ------------------------------------------------------------------- Chicago Flash Gene Krupa JATP, Asch, 1944 Town Hall Concert, Disc, 1945 ------------------------------------------------------------------------ Art Flickreiter Andre Previn Dave Pell "The Big Small Bands", Capitol, 1959 ------------------------------------------------------------------------ Phil Forest Phil Woods Nat Pierce "Jazz Romp", Keynote, 1955 ---------------------------------------------------------------- Billy Franklin Don Goldie "Golden Horn", Design ------------------------------------------------------------ "Wild Bill" Funaro Wild Bill Davison George Wettling "Jazz Trios", Kapp, 1956 ------------------------------------------------------------ Phil Funk Phil Woods ------------------------------------------------------------ Ernst Von Funkenstein Ernie Freeman Jimmy Witherspoon "Baby Baby Baby", Prestige, 1963 ------------------------------------------------------------------ Gabriel Dizzy Gillespie Tempo Jazz Men, Dial, 1946 ------------------------------------------------------------------ Irving Garner Paul Smith "The Best Of Irving Garner", Verve, 1956 Buddy DeFranco "Plays Artie Shaw", Verve, 1957 ------------------------------------------------------------ Sir Jonathan Gasser Johnny Smith "Jazz Studio 1", Decca, 1953 -------------------------------------------------------- Hen Gates Jimmy Forman Al Steele, Hi-Lite, 1947 James Moody, Blue Note, 1948 ---------------------------------------------------------- Hen Gates Dizzy Gillespie Charlie Parker, Savoy, 1945 ------------------------------------------------------------ Jimmy Gloomy James Moody Tubby Hayes "Tubby's Back In Town", Smash, 1962 ------------------------------------------------------------ (5) Doc Goldberg Milt Hinton George Williams "We Could Make Such Beautiful Music", RCA ---------------------------------------------------------- Izzie Goldberg Dizzy Gillespie Be Bop Boys, Savoy, 1946 ---------------------------------------------------------- Izzy Goldberg Dizzy Gillespie Joe Marsala, Black & White, 1945 ---------------------------------------------------------- Goliath Lou Bennett Jack Sels, Delahay, 1961 ------------------------------------------------------------ DaWilli Gonga George Duke Cal Tjader "Amazonas", Fantasy; Joe Henderson "Black Miracle", Milestone, 1975; Tom Waits "Blue Valentine", 1978; others. ------------------------------------------------------- George Goodwin Coleridge Goode Ray Nance, Esquire, 1948 ------------------------------------------------------ Blue Grant Grant Green Don Patterson "Tune Up", Prestige, 1971 --------------------------------------------------------- Roy Green Ray Brown Joyce Collins "Girl Here Plays Mean Piano", Jazzland, 1960 ---------------------------------------------------------- Rod Gregory Dick Hyman "Holiday For Lovers", Waldorf, c. 1955 ----------------------------------------------------------- Earl Grey Lou Levy Shorty Rogers "Martians Come Back", Atlantic, 1955 ------------------------------------------------------------ Zane Grudge Don Lamond Guss Hoo "New York Land Dixie", RCA, 1956 ------------------------------------------------------------- Deorge Guke George Duke John Klemmer "Touch", ABC, 1975 ------------------------------------------------------------- Aye Guy Nat King Cole "Lester Young Trio", Mercury, 1946 ---------------------------------------------------------- (6) Ruth Haag Betty Grable Harry James, Columbia, 1945 ------------------------------------------------------------- Sir Osbert Haberdasher Jimmy Raney Al Cohn, "Mr. Music", RCA, 1954 ------------------------------------------------------------------- (7) Half-Valve Rex Stewart Brick Fleaglebs Rhythmakers, HRS, 1947 --------------------------------------------------------------------- J. Harjes Johnny Hodges Earl Hines, Apollo, 1944 ------------------------------------------------------------------ Carleton Harkins Coleman Hawkins Varsity Seven, Varsity, 1939 ---------------------------------------------------------------- Bunny Harris Jimmy Raney Dick Collins "King Richard...", RCA, 1954 ---------------------------------------------------------------- Bernie Hart Milt Bernhart Jerry Fielding "Swingin' In Hi Fi", Decca, 1956 ----------------------------------------------------- Harvey Johnny Hodges Billy Taylor, Keynote, 1944 ----------------------------------------------------- Bert Herbert Herb Geller "Jazz Studio 4", Decca, 1955 ------------------------------------------------------- Junior Hifitz Milt Hinton Gus Hoo "New York Land Dixie", RCA 1956 ------------------------------------------------------ Honeyboy Homer Ray Bryant Gotham, 1955 ------------------------------------------------------ Gus Hoo Billy Butterfield "New York Land Dixie", RCA, 1956 ----------------------------------------------------- Ike Horowitz Al Cohn Urbie Green "East Coast Jazz", Bethlehem, 1955 ------------------------------------------------------- Shoeless Joe Jackson Mel Powell JATP, Disc, 1946 ------------------------------------------------------- Shoeless John Jackson Benny Goodman Mel Powell, Commodore, 1942 ------------------------------------------------------- John Jackson Benny Goodman Teddy Wilson, Brunswick, 1936 -------------------------------------------------------- L. Jackson GC)o Daly Michel de Villers, Decca, 1954 ------ Sonny Jackson King Curtis Sue, 1961 ---- Jo Jaguar Martial Solal Vogue EPs, 1956 ---------- T-Bone Jefferson Chris Barber Cecil Scott, Columbia, 1959 ---------- Jinx Jingles Teddy Charles Donald Byrd & Pepper Adams, Warwick, 1961 ---------- Phil Johnson George Shearing Night Blooming Jazzmen, Mainstream, 1973 ---------- Spider Johnson Cannonball Adderley Riverside single, 1962 ---------- Little Jazz Roy Eldridge Little Jazz Ensemble, Keynote ---------- Jug Gene Ammons Bennie Green "Soul Stirrin'", Blue Note, 1958 ---------- Stix Kahn Teddy Charles "Mundell Lowe Quintet", RCA Victor, 1954 ---------- Joe Kalamazoo Hubert Rostaing Pretoria ---------- Ken Kenney Red Norvo "Jazz Studio 4", Decca, 1955 ---------- Chuck Kidde Charlie Shavers Coleman Hawkins "Hawk in Hi Fi, RCA Victor, 1956 ----------- John Kildare Dizzy Gillespie Albinia Jones, National, 1945 --------- Oliver King Thad Jones Charles Mingus/John LaPorta "Jazzical Moods", Period, 1954 ---------- Willie "The Rock" Knox Dick Hyman "Ragtime Piano", Waldorf, c. 1955 ---------- Kokomo Jimmy Wisner "Asia Minor", Felsted ---------- Felix Krull Horace Parlan Booker Ervin "That's It", Candid, 1961 ---------- Buckshot La Funque Cannonball Adderley "Here Comes Louis Smith", Blue Note, 1958 ---------------------- Eddie Laguna Nat King Cole Herbie Haymer, Sunset, 1945 ---------- Bob Landy Bob Dylan "The Blues Project", Elektra --- George Lane Eric Dolphy John Coltrane "Ole", Atlantic, 1961 ----- Vera Lane Helen Ward Teddy Wilson, Brunswick, 1936 ---------- Claude Laurence AndrC) Hodeir Swing, 1942 ---------- Kansas Lawrence Carmell Jones Vi Redd "Bird Call", United Artists, 1962 ---------- Bengt Laxeau Bengt Hallberg Monica Zetterlund "Swedish Sensation", Columbia, 1958 ---------- L. Lee Benny Carter Lionel Hampton, Victor, 1939 ---------- Bud Legge Bud Shank June Christy "The Intimate June Christy", Capitol, 1963 ---------- Often LePow Seldon Powell George Williams "We Could Make Such Beautiful Music", RCA ----------- Paul Leslie Les Paul Red Callendar, Sunset, 1945 ---------- Hey Lewis Louis Hayes Pepper Adams & Donald Byrd "Motor City Scene", Bethlehem ---------- Jelly Roll Lipschitz Leonard Feather Leo Watson, Signature, 1946 ---------- Little Brother Nat Adderley King Curtis "The New Scene Of King Curtis", New Jazz, 1960 ---------- Red Loring Red Nichols Julia Lee, Capitol, 1947 ---------- Francis Lowe Ben Webster Mildred Bailey, Vocalion, 1936 ---------- Richard Lowman Dick Hyman Barbara Lea, Prestige, 1956 ---------- Jack Mack Jack McVea Slim Gaillard, Bel-Tone, 1945 ---------- (8) Maurice Fats Waller Eddie Condon, Commodore, 1940 ---------- Buddy Maynard Maynard Ferguson Jerry Fielding "Swingin' In Hi Fi", Decca, 1956 ---------- Henry McDode Hampton Hawes Jimmy Witherspoon "Singin' The Blues", World Pacific, 1958 ---------- Susan Melton Peggy Lee Mel Torme "California Suite", Capitol, 1949 ---------- Moe and Joe J.J. Johnson & Kai Winding Tony Aless "Long Island Suite", Roost, 1956 ---------- Lex Mond Billy Byers Tony Scott, RCA Victor, 1956 ---------- Wilmer Mosby Don Patterson Sonny Stitt bDeuces Wildb, Atlantic, 1966 ---------- El Muchacho Mahlon Clark Ray Linnbs Hollywood Swing Stars, Atomic, 1946 ---------- Rock Murphy Barney Kessel Verve 45's ---------- Shorty Nadine Nat King Cole Jazz At The Philharmonic, Disc, 1944 ---------- Virgil Nameless Johnny Dankworth Cleo Laine, MGM, 1957 ---------- Virgil Nameless Tommy Whittle Cleo Laine, Nixa, 1955 ---------- Nature Boy Nat "King" Cole Stan Getz "Groovin' High", Crown, 1947 ---------- Lord Nelson Sonny Stitt Sensation, 1948 ---------- Geo Noby George Daly Trummy Young, Ducretet-Thomson, 1955 ---------- Jimmy O'Heigho Jimmy Cleveland George Williams "Rhythm Was His Business", RCA, 1956; Manny Albam/Ernie Wilkins "Drum Suite", RCA, 1956 ---------- Derek Olphy Allan Chase John McNeil bFortuityb, Steeplechase, 2001 ---------- Hammond Olson Reinhold Svensson Metronome, 1952 ---------- Olson Brothers Reinhold Svensson & Charles Norman Esquire?, 1950 ---------- A. N. Other Allen Eager --------- Knuckles O'Toole Dick Hyman Waldorf and other labels, 1950s ---------- (9) Pete Pesci Bobby Hackett Eddie Condon, "Bixieland", Columbia, 1955 ---------- Hunt Peters J.J. Johnson Elvin Jones "And Then Again", Atlantic, 1965 ---------- Ronnie Peters Cannonball Adderley Milt Jackson "Plenty Plenty Soul", Atlantic, 1957 ---------- Fefe Phophum Hal McKusick Gus Hoo "New York Land Dixie", RCA 1956 ---------- Mac Pierce Hugh McCracken King Curtis "Trouble In Mind", Tru-Sound, 1961 ---------- Reggie Pitts Ray Ellington Ray Nance, Esquire, 1948 ---------- Buddy Poor Buddy Rich Harry James "Wild About Harry", Capitol, 1957 ----------- Al Portch Laurindo Almeida Pete Rugolo "Percussion At Work", Mercury, 1957 ---------- Al Portch James Stagliano Max Roach bBoston Percussion Ensembleb, Mercury, 1958 ---------- (10) Cue Porter Johnny Hodges Billy Strayhorn "Cue For Saxophone", Felsted, 1958 Booty Wood, English Columbia, 1960 ---------- Brother Powell David Bee Jazz Club, 1965 ---------- Al Price Bill Berry ------ Bubber Prince Sammy Price Albinia Jones, National, 1945 ------------ The Prince Shorty Rogers "Jazz Studio 4", Decca, 1955 ---------- Amanda B. Reckondwith Ruth Underwood George Duke ---------- Manhattan Red Urbie Green Jimmy McPartland, Design, 1960 ---------- Low Reed Michel de Villers Guy Lafitte, PathC), 1954 Jean-Pierre Sasson, Columbia, 1955 Guy Lafitte, Columbia, 1956 ---------- Ragtime Reinhold Reinhold Svensson Metronome, 1953 & 1955 ---------- Bill Richard Dick Katz Ray Nance, Esquire, 1948 ---------- Dirty Rivers Muddy Waters Otis Spann "The Blues Never Die", Prestige, 1964 ---------- (11) James Rivers Jimmy Giuffre John Lewis bWonderful World Of Jazzb, Atlantic, 1960 ---------- Lawrence Rix Lauderic Caton Ray Nance, Esquire, 1948 ---------- Little Rock Pharoah Sanders Leon Thomas "Spirits Known and Unknown", Flying Dutchman, 1969 ---------- Jolly Roger Shorty Rogers Teddy Charles "New Directions", Prestige, 1953 ---------- Slim Romero Fats Navarro Illinois Jacquet, Aladdin, 1947 ---------- Swing Roo Cozy Cole Teddy Wilson, Brunswick, 1937 ---------- Frankie Ross Frank Rosolino Gene Krupa "Lemon Drop", Columbia, 1949 ---------- Martial Royal Martial Solal Jean-Pierre Sasson, Ducretet-Thomson, 1954 ---------- Art Salt Art Pepper Shorty Rogers "Cool & Crazy", RCA Victor, 1954 Shelly Manne & His Men, Contemporary, 1953 ---------- Steve Sax Steve Lacy Joe Lee Wilson "Secrets From the Sun", Sun, c. 1976 ---------- Joe Schmaltz Charlie Shavers Herbie Haymer, Sunset, 1945 ---------- Joe Scott Wynton Kelly Sonny Criss "At The Crossroads", Peacock, 1959 ---------- Sonny Scott Hubert Rostaing Odeon EPs, 1962 ---------- Little Miss Sharecropper Lavern Baker National, c. 1950 ---------- Manny Shell Shelly Manne "Wild One" soundtrack, Decca, 1954 ---------- Roger Short Shorty Rogers "Wild One" soundtrack, Decca, 1954 ---------- C.C. Siegel J.J. Johnson Charlie Parker 10th Memorial Concert", Limelight, 1965 ---------- Big Skol Sonny Boy Williamson Roland Kirk "Kirk in Copenhagen", Mercury, 1963 ---------- Al Smith Teddy Wilson Timme Rosenkrantz, Jazz Star, 1945 ---------- Brother Soul Milt Jackson Quincy Jones "This Is How I Feel About Jazz", ABC, 1956 ---------- (12) George Spelvin Bud Shank June Christy "Junebs Got Rhythm", Capitol, 1958 ---------- Joe Splink Clifford Scott Richard Groove Holmes "Somethin' Special", Pacific Jazz; Carmell Jones "Business Meeting" Pacific Jazz ---------- Kant Standhim Stan Kenton ------------ Ken Stanton Stan Kenton -------- (13) Cinderella G. Stump Jo Stafford Red Ingle, Capitol, 1947 ------------ Mad Milt Summerblouse Boomie Richman Gus Hoo "New York Land Dixie", RCA 1956 ---------- Theoshis Tannis Roland Kirk Eddie Baccus "Feel Real", Smash, 1962 ---------- Erskine Tearblotter Lou McGarity Gus Hoo "New York Land Dixie", RCA 1956 ---------- A Tenorman Ben Webster Carmen McRae "Birds Of A Feather", Decca, 1958 ---------- Ed Theodore Prob. Teddy Edwards Mel Torme "I Dig The Duke, I Dig The Count", Verve, 1960-61 ----------- Chuck Thomas Woody Herman Woody Herman, Capitol, 1949 ---------- Zeke Tolin (anagram of Lee Konitz) Lee Konitz "Gil Evans +10", Prestige, 1957 ---------- Blue Train John Coltrane Cecil Taylor "Stereo Drive", United Artists, 1958 ---------- Bernard Trapps Buddy Rich George Freeman "Man & Woman ", Groove Merchant, 1974 ---------- Fanfan la Tulipe AndrC) Persiany Trummy Young, Ducretet-Thomson, 1955 ---------- Flip Turner Flip Phillips Jazz At The Philharmonic, Mercury, 1947 ---------- Shad Turner Joe Joe Johnson Boots Brown & His Blockbusters, Groove, 1952 ---------- Stan Turner Stanley Turrentine Shirley Scott, bHip Soulb, Prestige, 1961 ---------- Whelan Tyme Hal Schaefer b8 To The Barb, United Artists, 1958 ---------- Peter Urban Art Farmer Teddy Charles "Tentet", Atlantic, 1956 ---------- James Van Dyke Jimmy Cleveland Gigi Gryce, "Orchestra/Quartet", Signal, 1955 ---------- Luke "The Wailer" Danny Bank George Handy "Handyland, U.S.A.", 1954 ---------- Wally Wales Bobby Hackett George Wein, "George Wein Sings", Atlantic, 1955 ---------- Herb Walsh Herb Geller "Best From The West", Blue Note, 1954-55 ---------- Billy Ward Buster Bailey Oriole, 1925 ---------- (14) Roderick Ward Branford Marsalis Kenny Kirkland, GRP, 1991 ---------- Jim Whatsmyname Jimmy Cleveland Lucky Thompson's ABC Paramount Lps, 1956 ---------- Papa Snow White Hot Lips Page Mezzrow-Bechet Septet, King Jazz, 1945 ---------- The Wizzard Raymond Cheng Frank Lowe, "Black Beings", ESP ---------- Eddie Wood Eddie Heywood Rex Stewart, Capitol, 1945 ------ Lion Wrong Leo Wright Lalo Schifrin, 1960s -------------------- Baldy Wynn Moe Wechsler Gus Hoo "New York Land Dixie", RCA 1956 ---------- Drummer X Chico Hamilton John Pisano/Billy Bean "Makin' It, Decca, 1958 ---------- Trumpeter X Harry Edison Manny Albam "Jazz Greats...", Coral, 1957 ---------- Ennam Yllehs Shelly Manne Dave Pell, "The Big Small Bands" Capitol, 1959 ---------- Ashby de la Zooch Irving Ashby Charles Mingus, Four Star, 1946 ---------- Jack Zoot Zoot Sims Ernie Wilkins, RCA, 1955 ---------- Greg: Here are the comments. The numbers are keyed to the numbers in the list above: (1) Kunst Bauer is an exact German translation of Art Farmer's name; he was under contract to Prestige, but assured me it was OK if his name was not used. The album, "What's New," didn't sell much but was an extraordinary success for the two completely unknown composers of its contents, Teo Macero and Bob Prince. I asked them each to create and conduct a suite of about 20 minutes - the length of an LP side at that time. Although both were completely unknown, Teo's side caught the attention of Leonard Bernstein, who commissioned him to write a concerto for jazz sextet and symphony orchestra, which was premiered by the New York Philharmonic. Bob's side caught the ear of Jerome Robbins, who commissioned him add two new movements to three of the compositions for a ballet which Robbins called NY Export: Op. Jazz, that was a long-running smash on Broadway, followed by two world tours, with Bob conducting. A kind of pseudonymic reverse happened on Teo's session. For the personnel credits, I simply told my secretary to take the information on the W-4 slips (which musicians filled out on each date, from which the AFM Form B was prepared and a copy sent to the accounting department for payments). When the album appeared, I was startled to find that one musician, Lanny DiJay, had signed his real name as it appeared on his Social Security card, which is why his album credit read "Orlando DiGirolamo." That was the last time I failed to proof-read liner copy myself. (2) Note the three variations on John Birks Gillespie (Dizzy's full name). . (3) Charlie Chan: Remember your music teacher at the Solebury School? She was Mrs.Chan Parker (Bird's common-law wife). (4) Jonathan Edwards is a convoluted story that goes back to my college days. Around 1957, at a sales and promotion meeting at Columbia spread over 2 or 3 days, Paul Weston sat down at the piano after dinner, demonstrating how he and his wife Jo Stafford had been entertaining at parties with a spoof - Jo as Darlene Edwards, a housewife who had "sacrificed a singing career for marriage," accompanied by her husband - both of them incredibly inept. Jo, a great singer with dead-on pitch and time, mastered the difficult feat of singing sharp at all times (flat is easier), while Paul dropped and added bars, created dreadful harmonies and missed notes magnificently -always out of time with Jo. So we persuaded Paul to prepare an LP (first of a series of perhaps 4 or 5, which are still available on CD). "Mr. Edwards" did not have a first name, so I proposed "Jonathan," and here's why. Kapp Records had successfully launched a pop pianist named Roger Williams, to rival our entry in the field, Liberace. Roger Williams was also the name of a Revolutionary era New England preacher, who with his followers founded the state of Rhode Island. Jonathan Edwards was another clerical leader (in Connecticut) of the time, and my residential college at Yale was named after him. And so the careers of Darlene and Jonathan Edwards was launched. Speaking of Paul and Liberace, here's how we signed Liberace. Paul was in charge of A&R on the coast, and one day he called me to say he was going to sign a pianist who used only his surname, but before he sent any tapes to New York, Paul wanted me to know why he was sold on the guy. An artist manager whose name I can't remember at the moment (he handled folk groups including a very successful singing group we had just signed called the Hi-Lo's) had asked Paul to tune in on a small Los Angeles TV station at 12 noon to catch another client he thought Paul should sign up. Paul naturally wondered why a guy playing piano for 15 minutes on a one-lung TV station in the middle of the day should interest Columbia Records. "At the start of every broadcast," Paul was told, "he lights a candlebra on the piano top, talks to the listeners between songs, tells them how happy he is that they tuned in, asks them to tune in again tomorrow and blows them a kiss" "So?" asked Paul. "Well, since he started broadcasting a few weeks ago, the bank that sponsors him says they've had about a thousand little old tennis-shoe ladies come in to transfer their savings accounts from other banks." (5) When he needed a nom-de-disque, Milt Hinton remembered the real Doc Goldberg who played bass with the Hudson-Delange Orchestra, a very good swing band of the middle thirties. Doc was good enough to be invited to round out the Metronome Magazine All-Stars session of 1941. (6) Ruth Haag was the maiden name of Mrs. Harry James, and her one recording establishes that Betty Grable should have sung more often in her films. (7) "Half-Valve" is an apt pseudonym that describes one of the techniques by which Rex Stewart, a great cornetist, created new sounds on his horn, to the extent that 70 years ago I saw him onstage with Duke Ellington, carrying on a very understandable telephone conversation with vocalist Ivie Anderson - "Hello, John, is that you?" "Yes," etc., ending with them having a spat, and then Ivie goes into Duke's song, "I'm Checkin' Out, Goombye." (8) Maurice was the name of Fats Waller's son. (9) Pete Pesci was the manager of Eddie Condon's first jazz club on West 3rd Street in the Village. Bobby Hackett, one of Condon's regulars, was under contract with capital as featured solist inn Jackie Gleason's enormously successful "mood" albums. Gleason agreed to let me used the pseudonym - and a Down Beat reviewer hailed my discovery of a great new trumpet player. On another Condon LP, I commented in the annotation that a Mr. Chivas was a great help in getting the results of the session, and another Down Beat reviewer (obviously not a connoisseur of Scotch whiskeys) wanted to know what instrument he had played. (10) Cue Porter was the maiden name of Mrs. Johnny Hodges. (11) There is a real James Rivers, who also plays saxophone (as does Jimmy Guiffre). He is a later-generation New Orleans musician. (12) George Spelvin is a generic pseudonym established about 150 years ago in the American theater, to be used whenever an actor doubles in a second role. (13) Cinderella G. Stump is a pre-Darlene Jo Stafford incarnation, spoofing a screechy country singer of dubious pitch and a mistress of the missing bar at the end of a phrase. (14) Roderick Ward was (and may still be) Branford Marsalis's offstage right-hand man. http://www.incredimail.com/index.asp?id=54475>