Quasimado

Apologies : this should be the page for the Ellington shows: http://otrrlibrary.org/OTRRLib/Library%20Files/D%20Series/Duke%20Ellington/

Thanks for the information!

Index of /OTRRLib/Library Files/S Series/Duke Ellington Collection 25 Ellington radio shows (mostly 1940s) ...

Amazing resource for the 52/53 Kenton band. See: Index of /OTRRLib/Library Files/S Series/Stan Kenton Collection. What else is in this library?

Conte is young - or old?

How about the pianist - or was she damning with faint praise?

Any details? Just get a "Video Unavailable" message here in Japan.

Isn't this what Tristano was seeking, on the "feeling" side of his "feeling/ emotion dichotomy? He called it "playing from the id" (in the Freudian term of the day). Interesting discussion ...

Helen Merrill was in Japan from 1966-72 David Mathews (Manhattan Jazz Quintet/ Orch) has been here for some years, still gigging Tom Pierson (piano) - long term resident Jonathan Katz (piano) - long term resident Mike Price (trumpet - ex Kenton/ Buddy Rich Toshiko-Lew Tabakin big band) - long term resident Tommy Campbell (drums - ex Dizzy, Sonny Rollins, Mingus Big Band etc,) was here for a few years before leaving about 2010

Warne Marsh: http://www.warnemarsh.info/

Did Monk ever really "develop" after about 1948. As he became fashionable in the 50's his sidemen (at least on record) got better, his music was orchestrated etc. but the tunes and the piano style were already there ... The changes that occurred in the late 50's, 60's did not affect his playing in any way. As be-bop based straight ahead jazz (of which Monk's music was an idiosyncratic offshoot) fell out of "fashion" in the 60's, Monk went with it. Musically he was pretty conservative (in his own way, of course) ... Q

That's beautifully said. Q

Thanks for that. It certainly sounds like Billy Bauer on guitar, which would probably date it as 1946/7 in NY. Unfortunately I have no idea who the accordionist might be, but he can play! Q

Remarkable finds. I heard that Lennie sometimes played accordion in the early days. Just maybe he put it on disc. Can you hear the piano behind the accordion? Q.

Know his work mainly from the very fine "Thesaurus" from 1969 which I picked up for the Warne Marsh solos (regardless of 'behind the beat'). But recently came across a CD version of his "Extensions" (1963) which IMO is a remarkable recording - for the originality of the arrangements, the overall musicianship and for the intriguing tenor of little heard Jerry Coker (author of Patterns in Jazz). CD sound by Jonathan Horwich is excellent.