All Activity

***** ***** ***** ***** *****

John- I don’t know how to post here. I emailed you a photo. Nice to hear from you. James

I look at it like the Sarah was the be but of the song and the Raeburn was the debut of the full composition. Dizzy was present for both,fwiw Perhaps overlooked today is what a hustler Dizzy was in those very early days of bebop.

However, this one is given as 12-31-1944:

let's not forget Maria Rivas...

So the Sarah Vaughn was the month before. (December 31st, 1944. At least that's what it says on the Smithsonian double Lp "Dizzy Gillespie: the Development of an American Artist, 1940-1946".

During Sunday afternoon:

Track 1 was identified earlier as Smoke Gets in Your Eyes, neither Seamus Blake nor Kurt Rosenwinkel is present. Track 2 was previously identified as being Walt Dickerson, but Richard Davis is not the bassist. Track 12 is not King Curtis. Track 14 is indeed Archie Shepp and Horace Parlan, from the album you cited. Track 15 does not feature Louis Hayes, Abraham Burton, Steven Nelson, or David Hazeltine. Track 16 does not included Wallace Roney, but Billy Pierce is heard on tenor saxophone.

There have been a few Francis Wolff photography books. Can you post pictures of the two books to be sure which titles are in play? Thanks.

Since Sarah Vaughan’s Continental recording (as “Interlude”) was made on December 31, 1944, this one might be slightly earlier. Dizzy is also featured on it. It appears Boyd Raeburn first performed it during a live show in New York on January 17, 1945, and Dizzy was there as well. Tristano recorded “Interlude” in New York in October 1946, which was quite early in its adoption. It’s unclear where Tristano first heard “Interlude”—perhaps he heard Raeburn in NY, or maybe he was already friends with Dizzy at the time. Interestingly, Stan Kenton was performing a song titled “Interlude” around the same time. However, when I listened to the March 1947 recording included in the Mosaic box set, it turned out to be a different song with the same title, unrelated to “A Night In Tunisia.” This might be a distant reason why Dizzy changed the song’s title and, in later years, didn’t have very favorable things to say about Kenton.

I like it. But it is not essential Ella.

January 26,1945

Date?

Both books are in excellent condition in terms of the pages. No tears, dog ears, creases, etc. Bindings are intact and tight. The Wolff dust jacket has a small 3/4 inch tear on the bottom front and some curling of the edges. It also shows shelf wear. Blue Note cover is in good shape, exhibiting shelf wear, more so on the back. Asking $25 for the pair. Shipping at cost via media mail. Paypal FF for payment please. Thanks.

Alleged first recording.

Symphony 3

I love this series.

Somewhat spendy set. Is it worth the money, Lon?

I think Dizzy had changed the tile already in 1946. He recorded for Victor under the new title in February of 1946. I found a picture of an old 78 issue that lists the tune as "Night in Tunisia (Interlude)" so it changed pretty early. I know that Sarah Vaughan recorded it for Continental with Billy Eckstine as "Interlude" in 1945, so my guess would be that the title change came late that year. Tristano may not have heard it under the new title when he recorded it for Keystone as "Interlude" in October of '46.

Sonny Rollins: Newk's Time. Blue Note CDP 7 84001 2 [US 1990]

The only Mosaic set I bought in LP then bought again when it came out on cd back when Mosaic issued its first cd sets. I don't remember whether "Blue Horizon" is on that first disc, but I could listen to that one forever. Now digging some Texas tenor:

I enjoy reading Wilson’s reviews. He does not mince his words. I have gone through quite a few issues of High Fidelity (online) and found some interesting albums reading his reviews.