Shrdlu

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Posts posted by Shrdlu


  1. I would like to hear the unissued alternate takes and chatter, but I already have the CDs of the Handy and Waller sessions and they have quite a lot of (then) new material. I won't be needing the new Mosaic set, because, realistically, I would probably only listen to the new stuff once and then it would gather dust.

    It sounds like they are making sure that the Columbia material is backed up, which is a good idea. This is exactly what some of us have wanted to be done with the Blue Note reels. However, there is a large amount of stuff and it would cost a lot of time and money to do it, so it probably won't happen.


  2. This raises a point: just how bad are the many "rejected" or "unissued" Blue Note tracks? The decision not to issue in the CD reissue era was mainly that of Michael Cuscuna. We owe him a great debt for all of his hard work and persistence over many years, but, with all due respect to him, others should be allowed to make such decisions.

    This discussion is rather theoretical in view of the fact that CDs are not issued much anymore and the question of economics comes into it. Nevertheless, there is the frustrating knowledge that the tapes will eventually become unusable.

    There are some tracks that are almost certainly good. Examples are the two unissued tracks from the two John Patton sessions that produced "Blue John", and loads of Three Sounds tracks. Ah garontee that those would be good.

    Further evidence comes from the fact that a large number of excellent previously unissued performances were included on some Japanese CDs in the period 2003-2015. That might end up being the end of the appearance of new tracks. Who would have thought that the "new" items from "Out To Lunch" would be so good? And why were they not included on the first CD reiussue?

    The new guy at Blue Note, it seems to me, doesn't do much.


  3. I just came across a very interesting interview with the Australian reed player Errol Buddle. His main intrument was the tenor saxophone, but he also played the bassoon quite often - a rarity in jazz, of course. Its fingerings are fiendishly difficult and I would personally describe the instrument's design as a disaster, when you consider that it is, in a way, a bass oboe. The left thumb has eight keys to negotiate, as opposed to the one (the octave or register key) on a saxophone or clarinet. Nevertheless, Errol was fluent on the instrument. I love its sound during the bass solo on Gil Evans's "La Nevada", where it was played by Budd Johnson.

    Who was Errol Buddle? He was from Adelaide, Australia. Of interest to you here is the fact that he went to Canada and America in his early 20s (in about 1951) and played a lot in Detroit, where he was able to play with a lot of famous guys such as Elvin Jones, Tommy Flanagan, Barry Harris, Kenny Burrell etc. In the interview, he talks about them and other major players such as Bird, Miles and Diz. The webpage I am about to post shows newspaper clippings of him, in "The Australian Jazz Quartet", playing on the same program as many top groups. What an experience he had!

    Here is the link

    https://www.abc.net.au/jazz/features/specials/this-is-errol-buddle/9510504


  4. The online Blue Note discography incorporated all of my additions and corrections. That was quick. They did a very thorough job and listed the 2003 and 2015 CDs, so, as far as I can see, all of their information about The Three Sounds is now correct. To the team: well done!

    They even noticed that I had missed "Blues On Trial", from February 4, 1962, which mjzee pointed out. As well, I had missed the fact that "The Girl Next Door" and "This Is The Way 'Tis", from December 13, 1960, are on the 2003 JRVG CD "It Just Got To Be" (TOCJ-9527), as well as on the 2015 CD "Here We Come" (UCCQ-5091). The discographers spotted that, and so I don't have to send them another message. Once again, it is unusual for a JRVG CD to contain tracks that were not on the original LPs, and any extra tracks on them are easy to miss. 2003 was late in the day for JRVGs.

    Phew, it's all complete and correct now.

    The complications are due to several changes of plan at various stages of the CD era.

     


  5. Eke, once before I sent a correction to the discographers, and they incorporated it. It was nothing earth-shattering, but it was good to see it used. My latest submission is not exactly life and death, but it would be nice to see the adjustments made.

    Brad, I agree that such a Mosaic set is very unlikely. There is a large amount of material and the company is struggling, so the sets by Mobley and Morgan (suggested) are safer bets for them. The Mobley set seems to have done well. The Three Sounds were popular in their day, but I wonder how many people would be interested in them these days.

    It is frustrating that there are a lot of unissued performances that are most likely good (it being a regular working group that could do nearly every item in one take). I wonder how long it will be until the tapes disintegrate.

    Anyway, what we do have is great, and there is a lot of it.


  6. In the absence of a Mosaic set of The Three Sounds' Blue Note recordings from 1959 through 1962, I have collected everything that has been issued.

    I noticed that there are errors and omissions from the excellent and very helpful online Blue Note discography here

    https://www.jazzdisco.org/blue-note-records/

    so I decided to message the compilers with this update.

    I might as well give the information here.

     

    (1) "Azule Serape", " For Dancers Only" and "Tadd's Delight" are not on the 1998 U.S. CD "Standards". They are all on the 1998 U.S. CD "Black Orchid". "Blues On Trial" is unissued - it is not on "Standards". Here is the corrected listing: 

     

    The Three Sounds + Ike Quebec 

    Gene Harris, piano, organ; Andrew Simpkins, bass; Bill Dowdy, drums; + Ike Quebec, tenor sax #9. 

    Van Gelder Studio, Englewood Cliffs, NJ, February 4, 1962 

    1. tk.2 

    Sometimes I'm Happy 

    Blue Note CDP 7243 8 21281 2 0  

    2. tk.4 

    Easy Does It 

    unissued  

    3. tk.6 

    Azule Serape 

    Blue Note CDP  7243 8 21289 2 2  

    4. tk.7 

    Out Of This World 

    Blue Note BLP 4197  

    5. tk.9 

    Girl Of My Dreams 

    -  

    6. tk.10 

    Old Lamplighter 

    unissued  

    7. tk.11 

    Just In Time 

    Blue Note BLP 4197  

    8. tk.14 

    I Thought About You 

    unissued  

    9. tk.18 

    Blues On Trial 

    unissued 

    10. tk.20 

    Softly, As In A Morning Sunrise 

    unissued  

    11. tk.22 

    Makin' Whoopee 

    Blue Note CDP 7243 8 21281 2 0  

    12. tk.23 

    For Dancers Only 

    Blue Note CDP 7243 8 21289 2 2  

    13. tk.24 

    Nature Boy 

    unissued  

    14. tk.25 

    Remember 

    -  

    15. tk.26 

    Wadin' 

    -  

    16. tk.27 

    Mountain Greenery 

    -  

    17. tk.29 

    What A Difference A Day Makes 

    -  

    18. tk.30 

    Tadd's Delight 

    Blue Note CDP 7243 8 21289 2 2  

    * Blue Note BLP 4197, BST 84197   The 3 Sounds - Out Of This World   1966+

    * Blue Note CDP 7243 8 21281 2 0   The Three Sounds - Standards   1998

    * Blue Note CDP 7243 8 21289 2 2  The Three Sounds - Black Orchid 1998 

     

    (2) From the March 7, 1962 session, "I'll Be Around, long version" is on the 2003 Japanese RVG CD "Out Of This World", TOCJ-9528, so it is no longer unissued. It is very unusual for the Japanese RVG CDs to contain any tracks that were not on the original LP, and I almost missed this track, which is very good, by the way. "Over The Rainbow", from the same session, is also on this CD. 

     

    (3) Three Japanese CDs from 2015 contain a lot of bonus tracks, and they should probably add these to the discography. 

     

       (i) The "Here We Come" CD, UCCQ-5091, contains "The Girl Next Door" and "This Is The Way 'Tis", from December 13, 1960, so they are not unissued. 

     

       (ii) The "Black Orchid" CD, UCCQ-5104, contains "Tadd's Delight", "Azule Serape", "For Dancers Only" and "Nature Boy" from February 4, 1962, "Over The Rainbow" from March 7, 1962, and "Babe's Blues" from March 8, 1962. 

     

       (iii) The "Hey There" CD, UCCQ-5096, contains 10 tracks from August 13, 1961: everything from the session except "In A Mellow Tone" and "Here We Come". "Billy Boy" IS on that CD, so it is no longer unissued. 

     

    I hope that this helps. There are many other Japanese CDs of this group that are not in the discography, but they do not include any bonus tracks that are not on the original LPs, and they are easily found on the Discogs website.

     

    It would be nice to have the unissued tracks by this superbly-knit, grooving trio. It is hard to believe that they are not good. But I doubt that they will ever appear. There is probably too much material from 1959 through 1962 for a Mosaic set. I arranged what is available onto custom CDs, and got to 11, though I arranged them in a logical way and did not jam them in as tightly as I could have done.

     


  7. At the risk of seeming pedantic, I would point out that the discographical error of "alto clarinet" persists (not the poster's fault). Frank Foster played a low clarinet usually called the contra-alto clarinet on these recordings. It is in Eb, a fifth below the Bb bass clarinet, and is an octave below the actual alto clarinet. Both models can easily be seen online. I was given one of these Elvin albums to review when it first came out, and we all assumed that it was a Bb bass clarinet. As I recall, Frank didn't play it below the range of the bass clarinet, though I didn't check at the time.

    Elvin is my favorite drummer (though I love many others, of course) but I find a recording without piano a little dry and would greatly prefer to have one present.


  8. It's not the point, but I was at a Condon performance in 1964 and Dick Cary was on piano. The others, from memory, included Buck Clayton, Pee Wee Russell, Bud Freeman, Jack Lesberg and Cliff Leeman. Dear old Jimmy Rushing sang with them - I remember shaking his chubby hand at a gathering in their hotel afterward. I got to chat with Eddie briefly, and Bud Freeman was very gracious and sat with a bunch of us and chatted for a long time. He was very nice to me (as a 16-year-old starting out on a saxophone) and I discovered that he used the same reed as me: a Rico #2. Real gentleman, as was Eddie.


  9. I can't find a link in the original post, but I presume that reference is made to this interview with Philly Joe

    This is an excellent interview with this master drummer.

    As was mentioned, the piano (instrument) was terrible. It doesn't cost much to have a piano tuned. (I have an upright grand in my home,)

    Highly recommended interview.

    While on the subject of Philly Joe, I recommend the following analysis of his work on "Two Bass Hit", at the Miles Davis session of February 4, 1958

    As can be seen in the thumbnail, and at 2:25 in the video, he was using a minimalist set of just snare, bass, one floor tom, hats and ride. He gets such a full sound from that that I never thought that he had so little equipment when i played that track over all the years. It puts to shame the rock drummers with a huge forest of equipment that looks like they bought the whole drum store. Man, i can enjoy playing just a cowbell when a performance is grooving.

    Enjoy.


  10. I came across this a few days ago

    I have always enjoyed Wes, but I enjoyed this more than I expected.

    The Netherlands trio (at the start) is my favorite of the backing groups. The pianist, Pim Jacobs, had obviously been listening to Wynton Kelly, and the drummer, Han Bennink, had absorbed the crispness of Philly Joe.

    We have been told that Wes was practically a musical illiterate (which I never believed), but this video alone dispels that nonsense. Wes discusses the chord sequence here, and had a wonderful grasp of harmony.

    Enjoy!


  11. One of the finest, up there with Wes and Grant Green. He contributed greatly to countless Blue Note sessions and beyond.

    I doubt that he will see this thread, but if so, Happy Birthday and thanks for all the excellent playing.


  12. This might be a bit on the obscure side, but I have often wondered what the lowest note on Eric Dolphy's bass clarinet was. As I posted at the start, the bottom note is usually (written) Eb, sounding Db in concert pitch, or C (Bb concert). Well, this video

    https://www.youtube.com/watch?v=7ekmrZjp5lY

    settles the matter. The lowest note is D (C concert). He plays it here, on "God Bless The Child". Also, I can see three silver hole covers below the right hand little finger key stack, whereas my low Eb model has only two. The lowest of the three vents the Eb, and the D comes out through the bell. He definitely doesn't have the low C model, because those have 6 keys in the right hand little finger key stack, and his horn has only 5.

    This means that Eric could play a low concert C on Trane's "Spiritual" (1961, at the Vanguard), the piece being in C.


  13. Most of you will have been familiar with the 1958 live version of "Poinciana" for a long time.

    I just found this version

    https://www.youtube.com/watch?v=cytUz9KkK9M

    This rivals the 1958 version. The percussion swings like crazy. High recommended!

    The percussion guy has a pair of the Latin Percussion Giovanni Hidalgo "Galaxy" tumbas. It's hard to make out which sizes he has, but it looks like the requinto and quinto. Usually, if a guy has just two, they are the quinto and the conga. Although I am mainly a reed player, I have all four in this range: requinto, quinto, conga and tumbadora. Nice pieces of kit. I have most of LP's gear, including about 15 cowbells. I just love Latin percussion sounds.

    It would be great to have all of that Jamal concert available. They don't look exhausted after "Poinciana".

    I also like the original (studio) version of that piece, which has Ray Crawford on guitar instead of Vernel on drums.

    The trio with Israel and Vernel plays a sensational version of "Darn That Dream" here

    https://www.youtube.com/watch?v=i2--wlJmYN0

     


  14. On 6/7/2020 at 10:14 PM, Tom in RI said:

    Hymie Schertzer takes a bass clarinet solo on one of the Lionel Hampton RCA dates from the ‘30’s. I’d have to go digging to tell which date.

    That's very interesting. Hymie is my favorite sax section lead alto. Benny's four sax section, led by Hymie, was my favorite of all. The absence of a baritone gave it a light, agile sound. Gerry Mulligan said the same thing, but don't ask me where I saw that. They were still able to get that sax section sound for the movie about Benny, Hymie being on board.

    I recently saw the two movies in which Glenn Miller's band appeared, and I spotted a bass clarinet. I also saw one in the "Fabulous Dorseys" movie. You don't hear it on their records, because it is buried in the reed sections. An exception is Benny Goodman's "Mr Bach Goes To Town", which exists as both a studio version and a live version in the 3-LP "Treasure Chest" set. (I don't think that that set has appeared on CDs.)


  15. Woodwind instruments have keys that close pads, not valves. The keys are arranged in two clusters so that the player's hands can reach them. One's hands are not directly over all of the holes (except for a few smaller instruments, such as a treble recorder). It is the same principle whether it's a soprano saxophone or this flute monstrosity (three octaves below the standard flute). On the larger instruments, the keys might be a little further apart, but fingers have a limited span.

    I have heard samples of this flute, and I think it has an unpleasant, grunty sound. To me, it's just a workshop curiosity. I am very fond of the "bass flute", one octave below the regular flute (and twice as long), but that's as low as I am prepared to go in the flute family.


  16. Thanks very much, guys, for letting us know about this and posting a link.

    I watched it pretty much straightaway.

    It is very well done, and contains material that most people have not seen before. It avoids the usual pitfalls of biographies. To those who had a part in it: A hearty "well done".


  17. The Spotlite Dial LPs may have begun in the late 60s. I was in Australia when I got them, and I left permanently at the end of 1971. I remember that Vol. 7, the session with J.J. Johnson, came out a bit later than the other 6 LPs. (I don't like the mute that J.J. uses for most of the session: it destroys his lovely open sound. Only on "How Deep Is The Ocean?" does he play open, and, for me, it proves my point emphatically.)

    To answer a question above, Tony Williams and Spotlite are still going, though I doubt that much new material has come out in the last few years. He did put out alll the Dial recordings, including the items in the first post in this thread.

    Other companies have issued some Dial items since Tony's definitive LPs, but they can't sound any better, because all the masters were lost in the 1950s and Tony had to rely on Dial 78s and LPs for virtually everything. (Tony told me that on the phone years ago.)