Quasimado

This is a wonderful thread. I was just looking at Stuart Varden’s great web site, Nostalgia: Honoring Fats Navarro http://csis.pace.edu/~varden/navarro/navarro.html Engraved on Fats' tombstone is is well known quote- "I'd like to play a perfect melody of my own, all the chord progressions right, the melody original and fresh - my own." - which seems to me to sum up the swing-to-bop -- bop ethos. And, speaking of Fats, let’s not forget the wonderful young Ernie Henry and Allen Eager– I don’t think they made any leader dates in the 40’s (maybe Eager did a couple of 78s for Savoy and Jade), but they were indispensable presences in the classic Tadd/ Fats bands.

Larry recanting ... the end of days is nigh ...

Never heard this at all. He did another with Richards/strings in 1950 on Discovery that I recall.

Many Thanks: Always good to hear Bird!

Great find! Too bad about the Bud cut but many thanks. Maybe the complete tape will surface someday... Great find! Too bad about the Bud cut but many thanks. Maybe the complete tape will surface someday...

Couldn't find that - more info?

"These Foolish Things"; How Deep is the Ocean" ...

Good topic - an acetate like that is certainly worth following up - some great research on your part - hopefully Chuck Haddix will come through.

Interesting thread - no word from Chuck Haddix?

Saw him live in late 70's(?). Fine musician - intense, hot and swinging. RIP

Stylistically and strength-wise It's not Bird, although it's quite a good alto solo. Who else is on it I can't say. I like the first trumpet solo (sounds like there are two different trumpets), maybe even 2 altos - the second alto solo seems to differ from the first and could be a young Sonny Criss (?). The tenor reminds me a little of early Alan Eager ... nah, impossible. And why is it a Damon acetate? Bird made those great Vic Damon acetates in KC in 1942 ... Same place/ company? Stranger and stranger ...

Can't play it. Seems to have been removed ...

Received CD 3/29 from (my) local Amazon Japan. It was a little forbidding initially but becomes rewarding with repeated listenings and as the ear becomes attuned to the changes. I doubt it was recorded with release in mind - rather it seems to be explorations of standards in duo settings by like-minded musicians "stretching out on the changes". Popkin's lines (explorations?) are very oblique at first hearing but gradually take shape. I'm not a fan of Mancuso and would have preferred no drummer or bass and drums. I haven't got into the 2 free tracks with Connie. Lennie, of course, is Lennie.

Transcript of an interview with Jane Getz here - quite a life! http://bigmessybites.com/jane-getz-interview-transcription

Useful review here - but don't believe the "Monk influences" ... https://artsfuse.org/197490/jazz-album-review-lennie-tristano-the-duo-sessions-a-unique-musical-language/