Quasimado

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.

Great writing and playing showcasing Konitz, Schildkraut, Bill Perkins etc. at their best. Stan Levy is on drums. Q

CD-Rs? I'm surprised to hear that. That was not the case with mine, tho purchased long ago ... No liners is/was (family) label policy - reflecting Tristano's opinion that the music spoke for itself. Q

BUT, BUT ... she likes bebop ... and ... she's got no ANGST!!!

I had a quick look through Ken Vail's "Bird's Diary" (no index) but couldn't find any reference. If it did happen I'm sure James will cover it in his 1954 installment (which I unintentionally preempted - sorry James) ... Q

The Bird and Diz tribute on Flying Dutchman (1975) has 2 fine solos from Warne Marsh (Moose the Mooch & Groovin High). The electric bass is unfortunate. Q

Tristano wasn't able to be there for the 1959 recordings, and it shows. But he was at the Half Note in 1964 when that "Look Up and Live" TV program was made (it's on Youtube) and was later released on his *Jazz Records* label as *Continuity*. There the band can be heard in full flight ... Q

Peter Pullman, in his "Wail - The Life of Bud Powell" has several pages on Bud's gig at the Haig in 1954. Sidemen were Curtis Counce and Chuck Thompson. The contract was originally for "at least 6 weeks" but was terminated during the second week due to Bud's drinking and weird behavior. Crowds were initially good ... Q

Some more of the Gordons with Diz and Stuff Smith from 1957. Q