Michael Fitzgerald

Yes, looks like this is wrong in all the standard sources. There are a number of other similar cases - Just Squeeze Me vs. Squeeze Me, for example. Mike

Beautiful! OK - so that's the LAST tune on the Getz CD, right? Still would like to hear that live Getz tape to see if what has been listed as Vortex is the same as what's the SECOND tune on the Getz CD. Mike

Maybe Ham Camp's portrayal of Mr. P was not as memorable as Tom Bosley as "the Little Flower" but still..... Mike

are you sure?..........

http://hamiltoncamp.com/ Oh, wait..... Mike

Yes, I asked this same question in 2001. I worked a little bit on straightening this out awhile back. The best discographical entry out there right now is in the Erik Raben CDROM, but he omits the final track. STAN GETZ QUARTET: Stan Getz(ts),Richie Beirach(p),Dave Holland(b),Jack DeJohnette(dr). Live."Left Bank",Baltimore,Maryland.May 20,1973(see note) Invitation Label M 5702(CD) Untitled(1) - Spring Is Here - Litha - Lucifer's Fall - My Foolish Heart - -1.Poss. "Vortex". Note:Label M 5702 (CD) lists May 20,1975 as the rec. date - May 20,1973 is however believed to be the correct one. ================= My own entry for this: Date: May 20, 1973 Location: Famous Ballroom, Baltimore, MD Label: Private Recording Stan Getz (ldr), Stan Getz (ts), Richie Beirach (p), Dave Holland (b), Jack DeJohnette (d) a. 01 Invitation - 06:21 (Paul Francis Webster, Bronislau Kaper) b. 02 Vortex - 11:00 (Dave Holland) c. 03 Spring Is Here - 05:42 (Richard Rodgers, Lorenz Hart) d. 04 Litha - 10:59 (Chick Corea) e. 05 Lucifer's Fall - 09:54 (Ralph Towner) f. 06 My Foolish Heart - 05:53 (Ned Washington, Victor Young) All titles on: - Label M CD: 5702 - My Foolish Heart - "Live" At The Left Bank (2000) CD issue incorrectly gives year as 1975. Confirmation needed on title of b. Additional selection: #07 listed on CD as "Fiesta" (6:20) and credited to Corea. This is not "La Fiesta" by Chick Corea. ================== The tune "Vortex" appears on other Getz live tapes of the time, but I haven't heard them to confirm. Anyone got 12/12/72 at Paul's Mall? Mike

Ban Guy? Oh, you mean methyl salicyate, menthol and camphor? Mike

You seem to have a full-time job here as the Michelle Mercer apologist - would you care to make your connection/identity known? "If she did her job right (and there is every indication that she did)" - oh please, hardly. This book was put together in a couple of years and it shows. Mike

Amazingly, trumpeter Randy Sandke has just issued *three* new albums on the Evening Star label (established by Benny Carter and Ed Berger). The first I listened to was "Outside In", which points to the ability that Sandke has for making music that is very much aware of the early jazz tradition (Bix, Jelly Roll, Duke, etc.) but also stretching the boundaries of jazz. I mean, one of the tunes is "Ornette Chop Suey" - you get the point? The band is remarkable: Wycliffe Gordon AND Ray Anderson on trombones; Marty Ehrlich, Scott Robinson, AND Ken Peplowski on woowinds; Uri Caine on piano; Greg Cohen on bass; and Dennis Mackrel on drums. Howard Alden plays guitar on one track. Some of the same guys are on the other CDs (The Mystic Trumpeter - Sandke, Robinson, Gordon, Ted Rosenthal, Cohen, Mackrel; and Trumpet After Dark - Sandke, Bill Charlap, Cohen, Mackrel with a viol consort, yes you read that right.) I'll have to listen more to the other records, but the first is really outstanding. There are pieces by Jelly Roll Morton and Ellington & Strayhorn, but majority are originals by Sandke (with one each by Anderson and Ehrlich). There are some wonderful sounds - occasionally reminiscent of Mingus at times, but then not. CDs are available from Cadence or from CD Baby and probably elsewhere too. For years I tended to lump Sandke in with the Concord Records white swing guys and that was my error based on the records I was exposed to and the gigs he was doing around NYC - playing with Buck Clayton, etc. When it came out in 1994, I really took notice of "The Chase", which had Mike Brecker and Ray Anderson - little did I know that those guys had a lot of history together. Mike Brecker and Sandke (and Ed Berger) attended Indiana University in the late 1960s. And here's a little blurb about Anderson from the Outside In notes by Sandke: "Ray and I go back a long way and went to high school together in Chicago. The school stage band had a rather remarkable trombone section: in addition to Ray we had George Lewis, who recently won a MacArthur grant for his significant contributions to creative music making. The third trombonist was a young African-American named Roscoe Giles who scored perfect 800s on his SATs and went on to become a leading architecht of chaos theory. As Ray notes, Roscoe was so smart he quit playing the trombone altogether." BTW, if you wanted to know more, try here: http://www.math.buffalo.edu/mad/computer-s...les_roscoe.html Anything with Scott Robinson is bound to be interesting and he delivers the goods, playing contrabass saxophone as the voice of God during Genesis 1 and Revelations 8-11. Elsewhere Robinson plays alto, baritone, clarinet, theremin, and waterphone - http://www.richardawaters.com/waterphone/ - an instrument which I was stunned to learn has appeared on about 30 jazz sessions. Everyone gets some space and there's a great opportunity to hear Ken Peplowski and Marty Ehrlich duel on clarinets. What is wonderful is that all these juxtapositions WORK. It would be nice if this kind of thing got more attention, because it really has more to it than so many other major-label things. One last quote going back to the dichotomy: "At concerts I would sometimes see both Joe Klee and Gary Giddins in the house, knowing that one only liked jazz with banjos and tubas and the other couldn't abide that stuff. So in effect I was assured of a bad review from one of them before I'd even played a note. Such are the professional hazards of being a jazz musician in this day and age. As I was writing this tune I thought, boy, Joe Klee would really hate this. But then again he could sometimes surprise you with an unexpected liberal streak. So I figured I'd surprise him with an unexpected musical acknowledgment, and hence, Blues for Joe Klee." Well worth checking out if you are a fan of the musicians involved and of creative jazz that moves the music into the future with a thorough understanding of the past. http://www.randysandke.com/ Mike

Well, in the field of jazz, the idea of recording is incredibly important because it allows for improvisations to be revisited. Mimicry, transcription, analysis, comparison, etc. are all possible because the solo hasn't been lost in the ether. We can track the progress of a musician by his recordings - because in jazz, it's the performance (documented by a recording), not the composition (documented by a score) which gets the attention. All the stylistic discussion from the classical world applies to jazz as well. Then there's the limitation of the 10" 78 rpm side, then the "liberation" of the 12" LP, etc. We discussed some of this in the intro to the Gigi Gryce book and I know it's been hashed out in other books too. Mike

"even Glenn Gould would have had trouble executing the mechanically accelerated keyboard solo in “In My Life.” [by The Beatles] - what a load of crap. Any pianist with ten years experience can do it. You can find someone at any music college. Now, why wasn't discussion of Conlon Nancarrow's player piano works introduced? Interesting article, but nothing revelatory. I think most people who have thought about recording and globalization and homogenization in music have considered these things. Mike

Well, it has been published - I'd have to look at it later, but I think there is no publisher, just self-done. The title is "As Quiet As It's Kept". My copy is from a personal friend of Newborn's. I never knew about before I received it (a couple of years ago) and I've never seen another copy since. A quick websearch says it came out in 1996. Lots of interesting stories, mostly NEVER known before, but it could have used editing and some scholarly research to balance it out. Apparently it's available from him: http://sorianasong.com/Newborn.html but the website it links to does not work. Perhaps try the email. Mike

pp. 63-64 of Calvin Newborn's book mention Howlin' Wolf and Phineas but nothing about a recording session. Calvin was teaching Wolf to read music and Phineas had just been discharged from the military - which by my calculations makes it 1955. Mike FWIW, according to the book's discography, Phineas does appear (along with Calvin and Phineas Sr.) on two B.B. King singles: Miss Martha King/When Your Baby Packs Up (Bullet 309) and B.B. Boogie/She's Dynamite (RPM 323). However, I note that other sources list RPM 323 as She's Dynamite/B.B. Blues - and that B. B. Boogie is on RPM 304 backed with Mistreated Woman.

I can't confirm those dates because the Blue Morocco didn't seem to advertise (and even if they did, probably wouldn't include personnel). I have seen April 10, 1967 for the gig with Kyner and Joe Lee Wilson - drummer is reportedly Russ Charles (sometimes listed as Hersh Charles). Also, my entry has a performance of What's New, with this sequence: Date: April 10, 1967 Location: Blue Morocco, Bronx, NY Label: Private Recording Kenny Dorham (ldr), Sylvester 'Sonny Red' Kyner (as), Kenny Dorham (t), Cedar Walton (p), Paul Chambers (b), Russ Charles (d), Joe Lee Wilson (v) a. Bags' Groove - 14:13 (Milt Jackson) b. Blue Bossa - 13:58 (Kenny Dorham) c. I'll Remember April - 08:30 (Gene DePaul, Don Raye, Patricia Johnston) d. What's New - 08:40 (Bob Haggart, Johnny Burke) e. Four - 06:14 (Miles Davis, Eddie Vinson) f. The Theme - 04:00 (Traditional, Kenny Dorham) I wouldn't be too concerned with the difference in personnel, because gigs like that might not use a working band, just a group of guys who happened to be around at the time. There's another 1967 Dorham date floating around out there with: Kenny Dorham, Gene Harris, Victor Sproles, Jimmy Lovelace, Joe Lee Wilson. And Dorham was gigging with Frank Foster at the Five Spot in Feb. 1967. In 1967, Candy Finch was in Dizzy's band, so they must have been in NYC on a break. Cedar Walton was gigging with Milt Jackson and others at the time. Ronnie Mathews was with Hubbard. Lots of variables in play. In the mid 1960s, sometimes Sonny Rollins totally changed his sidemen from night to night while on a two-week gig at a club! Mike

Two JATP concerts were recorded and issued. WKCR-FM is sure to play these on the day between Young and Parker's birthdays. Mike

I would feel bad taking the $1 - but Lord CDROM 5.0 does have the two Fred Jacksons. First goes from 1949-1964, working with Paul Williams, Chuck Willis, Lloyd Price, Baby Face Willette, John Patton, Lionel Hampton. Second goes from 1971-1991, working with Bobby Hutcherson, Gene Harris, Alice Coltrane, Horace Silver, Leslie Drayton and more. Now, the Lionel Hampton may be problematic, because Lord also shows "Fred Jackson, Jr." as being in Hamp's band in 1964, playing baritone. We know it's not the 1971+ FJ because he was too young. But it's the only time FJ is listed on anything except tenor. Fred Jackson, Jr.'s other entry in Lord is with Norman Connors, which should certainly be 1971+ FJ. Can anyone confirm that 1949+ FJ worked with Lionel Hampton in 1964? So - maybe you should get $1 after all. Mike

I know of another Atlantic album recorded at Van Gelder's - Lee Konitz: Inside Hi-Fi, from September 26 & October 16, 1956. Mike

"Orchestra directed by Jerry Fielding" - not positive he wrote the chart, but seems likely. Mike

Somebody seems to have confused Hank Jones with Percy Heath. It's quite unlikely that a Percy Heath interview will happen. So Percy doesn't have to endure that oft-asked question ever again. Hank Jones, on the other hand, has almost certainly *never* been asked that question about Love Song, his only album as a leader, so maybe that will be a nice curve ball. Then again..... Mike

Obviously wrong, then. Not a Van Gelder recording. Mike

Oops - I should have specified "accurate information that we missed" - Schaap did an on-air interview of Tommy Gryce (Gigi's brother) and was putting out all kinds of speculations and misinformation, right in front of Tommy, who quite politely let it all pass. It was sad. Mike

I have this but can't verify details right now. Almost positive it's the Italian. All Sun Ra has skyrocketed in price, mostly stupidly without any good reason other than death (and Thurston Moore). Stuff that was regularly $5 is now $50+. Mike

I suspect it was the stuff on Atlantic 1257 - the Paris concerts of March 25 & April 6, 1952 - originally Blue Star? And the studio session of February 29, 1952. The Paris stuff has Byas, the studio has Bill Graham, Milt Jackson, Joe Carroll. Mike

Yes, Atlantic 1271 where it was coupled with Barbara Carroll. Subsequently Koch CD. Mike

Marty - do you recall anything about the audience reaction? Were they cool with both or was it obvious that there were factions that were there to hear one but not the other? My experience is that people who dig out stuff are much more likely to appreciate in stuff than the other way 'round. Mike