marcello

You can always contact Jack Walrath via Facebook.

Both Dutchman and The Slave were revolutionary.

Some artists can be almost endlessly inventive, soulful and exciting over a long career, but not many. McCoy, Scofileld and Lovano have all had major label contracts, so it's not that they record unless sessions because they can. By the way, it still costs good money to record in a studio so it's not that it's so cheap that there are a lot of releases. No, it's just that some artists just run out of inspiration, some way earlier than others. Some don't really warrant those nice "major" label deals, but are very good at playing the whole glad handing, slap on the back game to keep themselves valuable to those media types and producers who hang on coattails for a living. McCoy hasn't made a great recording in decades. Scofield and Lovano sounded great when they were much younger booth as players and composers, but now ( really for a looong time) they bore the shit out of me. I don't mean to particularly single out those three, there are many more in this thread ( I totally agree about Osby and Murray). Some cats just don't justify a long haul. After a few releases, you just give up on them.

I believe you are correct.

You may find this story enlightening: http://blogs.laweekly.com/informer/2013/12/wolf_of_wall_street_prousalis.php

Avenue B (between 7th & l0th Streets-along Tompkins Square Park) was renamed Charlie Parker Place in l992

A fanny pack in reverse:

No, Lonnie does not have a potbelly at all! I had dinner with the band between sets that day and he's a very heathy eater. I believe he might have some sort of belly pack on underneath his tunic. He (and they) were really great that night also.

Jim, I have the same recording on ESP, though.

The drummer should be the fabulous Johnathan Blake. Here's a photo of mine from this Summer:

Keep reading, Joel.

Muzak pays a very nice royalty under the the "Satellite" rate. But yes, the publisher and copyright holder should be getting a royalty.

Here's how things happen: I met Russ several years ago when he produced a recording of trumpeter Dominick Farinacci for E1 Music because Joe Locke played on a song. When Joe did a week at Dizzy's with his band (vocalist Kenny Washington, George Mraz, Geoffrey Keezer and Clarence Penn) I sent him a message via Facebook ( I had never been in contact him before as Dominick contact Joe directly for the recording) and invited him to come hear the band as my guest. He came that night and really loved the band so much that I think he came every night after that and stayed for almost all of the sets, each time bringing with him friends and associates. On the last night he brought with him Chuck Mitchell of E1 Music who just flipped over Joe and the band and before he left, we had a deal for a recording with options ("For The Love Of You"). Russ didn't ask to produce, by the way, or ask for anything else. He just loved the band. As a matter of fact, his photo of the band is on the rear cover. As a matter of fact, he's producing a singer with Clarence Penn, the drummer and he also had a hand in Jaimeo Brown's "Trancendence".

I've never talked about Ry Cooder with Russ. There's always so much to talk about, though. If you look him up, he goes back to the later early days of Phil Spector, and became a producer of many pop acts like Randy Newman, George Harrison, Stevie Winwood, James Taylor, Ricki Lee Jones, Eric Clapton and many, many others. Buit when we meet the conservation can go anywhere. Well read, heavily involved in all of the arts, an encyclopedic knowledge of the Great American Song Book and a all around enthusiastic patron of the Arts. He has a producers deal right now, with I believe Decca. Here's a link to a interview for The New York Songwriters Circle: http://youtu.be/7h-2BfHkwng The Russ Titelman Story

Looking further it seems that "Blue Train was played ( w/ Dolphy & Reggie Workman) in 1961. "Spiritual" in on 10/25/63. "Traneing In" could be 11/17 62, 11/19/62 (there were two concerts on that day), 11/22/63 and10/25/62. So, really no help from me!

I have some of those performances on LP "Coltraneology Vol. 2" on BYG (Japan) Stockholm Konserthuset 10/22/63 It's the "Classic Quartet" not w/ Red Garland Trio

Thanks for the link, Q. I purchased the paperback for his website.

Don't forget that were no longer a small independent at that time but owned by a large one.

Dandy, dandy! I was involved with Mickey when he toured with Joe Locke. Wonderful man, and so is Bob Cranshaw. When Joe toured Italy with them in the Milt Jackson Tribute Band (led by Joe), he gave up some of his fee to Mickey and Bob because he felt that the promoter wasn't paying them enough. Consequentially, they made more cash than he did on the tour, but Joe wouldn't have it any other way.

That's my buddy producer, musician, songwriter and all around Renaissance Man, Russ Titelman on bass. His sister is Cooder's wife.

She wasn't, of course. It's all about the money. Good for her, I say. In the Cinema, you must suspend belief when you walk through the doors.

My Sister, who lives in Boca Raton, and a friend went last night also. I'm happy you had a good time!

I believe that the "Pure Genius" recording was from one of the tapes, of which there was three, that were in the car when Clifford died. Mrs. Brown lent one of the tapes to someone who made a copy. I may be confusing this with the recent "Cotton Club" recording, but I know that there are three tapes and two have never seen the light of day. This information came to me last year when I tried to facilitate another live recording, made in Rochester at the Band Box in 1956. I heard the tapes from the original reel and a cassette copy for a record company that was trying to purchase that tape and had dealings with the Brown estate to release it along with the three that were in the car. The Rochester tape is a very good quality, but only two of the songs were complete ( a burning "52nd Street Theme" and a wandering "Easter Parade". The performance was on Easter weekend). A deal couldn't be made, alas.

Gerald Wilson (leader), Snooky Young, Hobart Dotson, Joe “Red” Kelly, James Anderson (trumpets), Melba Liston, Isaac Livingstone, Ralph Bledsoe, Robert Huerta (trombones), Floyd Turnham, Leo Trammel (alto saxes), Vernon Slater, Eddie (not “Lockjaw”) Davis (tenor saxes), Maurice Simon (baritone sax), Benny Sexton (guitar), Jimmy Bunn (piano), Robert Rudd (bass), Henry Tucker Green (drums) . Composed by Dizzy Gillespie. Arranged by Gerald Wilson . Recorded: Los Angeles, 1945 Solos are by Dotson, Davis and Bunn. Stolen from jazz.com