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My understanding is that this is a Dizzy Gillespie composition. Isn't this the one that Art Blakey says he saw Dizzy Gillespie compose on.a garbage can? Lennie Tristano's recording of Interlude dates from October, 1946. Gillespie had already recorded it several times by then, including the famous session with Charlie Parker. Keystone could have given it a different title for various reasons a) by mistake, b) to avoid paying royalties, c) because Lennie Tristano forgot the title. John

Bringing up a now 20 year old thread of Paul’s (RIP) — to ask a question I’d thought of a few years ago, and always meant to ask… I know Lennie Tristano recorded 6 takes of Tunisia in 1946, when it was (apparently) still titled “Interlude”… QUESTION — what’s the chronology on the retitling of the tune? When did it become “…Tunisia”?? Were all(?) of the first however many recordings of it all just titled “Interlude”? Are there that many other recorded versions that predate the new title?? — meaning that were released as “Interlude”?? I have to confess — other than bits and pieces of discussion primarily on this board — I don’t know much about the early chronology of the tune, its genesis, and what were some of the FIRST recordings of it without Dizzy? — etc. (Bringing this old thread of Paul’s seems to be as good a place as any to ask.)

My best friend asked me for advice on which edition of a Wailers album to pick up and we both realized we haven’t listened to reggae in some time. I’m going to attempt to make up for that . . .starting off with this re-imagining of the great Bob Marley’s music. “Dreams Of Freedom (Ambient Translations Of Bob Marley In Dub)”

“We Dig Dixieland Jazz” Savoy/Denon cd Two Condon-led Chicago Style sessions, giving me the lift I want right now.

John S. Wilson is a name that is familiar indeed to me (from contemporary reviews and Down Beat stories) but I cannot claim I'd know his jazz inclinations offhand. As for the artists I named (wild shots anyway), since Seldon Powell was Black, I just stuck with the "Black" side of popular tenor saxophonism of that era. So your explanation makes sense (and if he was thinking of Stan Getz indeed this is telling something too ... ).

Ella Fitzgerald, “Live in East Germany 1967” The Lost Recordings UHQCD x 2, disc 2.

Maybe it was Getz that he considered "namby pamby"? If you don't know John S Wilson (I am pretty sure this isn't news to you Steve) but he is not someone who would have paid the least attention to Hope, Sil Austin or other honkers/screamers. That music was gauche to a John S Wilson.

This model I have has rubber surrounds, not foam, and they are in good condition. Perhaps the previous owner changed them, or they were made like this. I cannot tell, but they do sound good. Changing the surround from foam to rubber (or vice versa) can seriously alter the sound. I do plan on getting a pair of SM-5 as well and will probably have to change the foam surround on those.

I assume you re-did the woofer foam surrounds? Even if they look good, if they are original they are likely not working as they should. I once had a friend say that his woofer surrounds were fine but when he lightly touched one, it crumbled before his eyes. After re-foaming, they sounded great.

Ba

Cloudcontrol !

Ed Chamberlain – Untitled , what a gem ... absolutely brilliant

Another cold morning! Benny Goodman “Different Version Vols 1 & 2 – 40 Alternate Takes Of Recordings 1939 to 1940” Phontastic 2 cd set, disc 2 Excellent mastering on this set. Goodman was really a force at this time, and his arrangers were writing interesting tableaux for his playing.

now able to watch the doco here in Australia (no VPN needed) - thanks for the update Dan Only slight issue is interview material is mostly in Danish (oe maybe other nordic languages) with no subtitles

Philip Catherine feat. Enrico Pieranunzi, Joe LaBarbera & Hein van de Geyn - Concert in Capbreton (Dreyfus)

I wonder what the "High Fidelity" reviewer meant by referring to "namby-pamby" style of tenor playing in 1956? The velvety MOR noodlings of the likes of Sam The Man Taylor, Sil Austin et al. were yet to come, Lynn Hope or Jay White weren't that big names to have set the tone of the instrument, and Illinois Jacquet certainly was no longer in the all-out honking camp by 1956 but hadn't softened that far either. And the reviewer certainly could not have referred to the cool tone of Lester Young and his school? Or had he had the misfortune of having been exposed to an overdose of Ben Webster ballads? So I wonder what kind of listening clientele "High Fidelity" catered to. Apparently a relatively sedate set.

Looking forward to next Sunday in SF: "Being & Becoming" with Peter Evans/Nick Jozwiak/Tyshawn Sorey + Heavy Arts Ensemble

Wallowing in an old favorite May Downes and his wife find peace in eternity.