Michael Fitzgerald

Yep

Gotta disagree with the recommendation of Secret Story as being somehow representative of the Pat Metheny Group - it's not a Group album at all. (I also think it's not a good album at all, but I won't get into that.) I also find Offramp to be an odd selection for starting out - my pick for a PMG startoff would be Travels, the live album (from the Offramp tour) which includes the early stuff (Phase Dance, San Lorenzo), the later stuff (Are You Going With Me), an abridged As Falls Wichita, plus a bunch of wonderful new pieces that weren't ever recorded elsewhere. Plus it has the lineup with Danny Gottlieb and Nana Vasconcelos. It brings in the Brazilian elements that were a big part of the next decade or so, but I think it does them better and with less "slickification". I'm going to see the band next weekend. Have only heard parts of the new record. I'll have to pick it up before the show. Or maybe I won't. I remember the excitement of hearing the band in 1989 on the "pre-record" tour when they played most of the Letter From Home album before it was recorded. All those tunes didn't even have titles at that point. It was quite a different experience hearing that stuff fresh without any references. Mike

Only on one track. Mike

No, the GRP recording used transcriptions. The original parts had not been discovered at that point. Ditto for the Miles at Montreux performance. Mike

Jazz 'Round The World - an interesting album with interpretations of folk tunes from various places. Mike

Remember, in the 1960s Cherry recorded on "regular" cornet too - with Rollins and on his Blue Note albums, at least. The flumpet is a hybrid between flugelhorn and trumpet made only by Dave Monette. I've never played one (I'll never afford a Monette - $6500 for a used flumpet) and can't say how exactly it differs from a cornet, but from the description, it seems to lean more towards the flugelhorn. Mike

More than you wanted to know: http://www.dallasmusic.org/gearhead/Pocket%20trumpets.html Regarding sound differences - who have you ever heard play both? I suspect the difference is due to the player not the instrument. Mike

Curson is shown with not a pocket trumpet (which is the same length as a trumpet, cornet, or flugelhorn but coiled very differently) but rather a piccolo trumpet. The piccolo trumpet (there are several different keys) is MUCH shorter in length than the standard issue trumpet. The fourth valve adds tubing, allowing for lower notes and for better intonation in certain situations. I can't think of what Hubbard ever played that had four valves - flugelhorn would be my only thought, though I've always seen him with the much more common three-valve model. Long shot would be a rotary valve flugelhorn like the ones that Jimmy Owens, Wilbur Harden, and Claudio Roditi have played. These make it look like the player is holding the instrument sideways when playing. Other four valves instances: flugelhorn, euphonium, baritone horn, tuba (sometimes 5 even) - and the exceedingly rare quarter-tone trumpets that Don Ellis used. The fourth valve on the double (french) horn is quite different, effectively switching between two different instruments, typically the F horn and the higher B-flat horn. No, the short, long, BIG thing doesn't help because it isn't always true. I could show you trumpets that look like cornets, flugelhorns that look like cornets, and cornets that look like trumpets. Mike

All B-flat cornets are the same length when uncoiled. Any variation in how they are coiled will result in *appearing* shorter - but they aren't really. I believe what is referred to above is the "shepherd's crook" variation. Again, range is exactly the same. Let's not get into E-flat cornets, etc. Instruments in different keys ARE different lengths. Mike

Not essential, in my view. I've seen this as 1964 or "late 1960s" - but the issues give NO date whatsoever. Anyone got anything better in terms of a date for this? If indeed it is "late 1960s" then it might be late for Timmons, but everyone else had at least a decade more to go. Mike

There's been quite a bit written about this and fortunately, I think the major figures did speak on the subject at one time or another. It would be just a matter of compiling this existing stuff into a "Birth Of The Cool Reader". The right person for this would be Jeff Sultanof. He knows more about the stuff than anyone I know of. I believe he's putting an article together for the Annual Review of Jazz Studies, but it's primarily on what he did to publish the scores - but it will be a must-read, and I'm sure there will be some background history of the group and the tunes. Mike

There is no such thing as a Johnny Richards small group, is there? Mike

Absolutely there is a book of all the scores - it's one of the masterpieces that every musician should have. Jeff Sultanof prepared it using the original parts (long thought to be lost). It even includes stuff that was in the band's repertoire but was never recorded. http://www.halleonard.com/item_detail.jsp?...nd=E&catcode=06 Mike

Allen - you misunderstood. She was expressing her desire to hear more tributes to married composers. Mike

Flugelhorn is even more conical than cornet. Still same length and same range. Mike

Just wondering if the "Charlie Parker Plays Cole Porter" album should be brought in at this point. My other comments (which I do stand behind) obviously refer to "non-project" groups/gigs. If a musician has something to bring to one particular composer's work, then great. I will go along with Allen that too much of anything isn't a good thing - so my moderation idea fits there as well. And one could easily see that the HN Project folks DO have the moderation thing going in their own careers. Whatever - it's mainly just taste at this point. And everyone knows that if I like it, it's good and if I don't, it's bad and you'd better get with the program if you don't agree. Mike

Cornet is part of a family of conical bore instruments - with tuba and euphonium. Trumpet is part of a family of cylindrical bore instruments - with trombone and baritone horn. Both cornet and trumpet are the same length when uncoiled, so they have identical ranges. The bore difference makes the trumpet brighter. Mouthpiece factors can also affect things - traditional cornet mouthpiece is deep V-cup, while trumpet is usually shallower U-cup. Cornet has a history in military bands while trumpet goes back to orchestral guilds. There are books on this whole history subject. Mike

The other thing to consider is that these folks do a lot more than just the Herbie Nichols Project - that's ONE thing they do. Like Lacy/Rudd and Monk - Mike

Without listening to it, I would suggest the possibility of a sizzle cymbal - a normal cymbal with added small metal rivets that vibrate when it is played. I'll try to remember to check later. Mike

As with everything, moderation is key. I have spoken passionately here in favor of cultivating a knowledge of repertoire - and not enough people do as you have done, digging up gems that have been ignored. I can't even begin to list the amazing stuff that is out there, never recorded twice. Transcribe yourself a whole book of "unplayed" things - then to make your set lists, combine these with standards, originals, and completely improvised pieces. Mike

Preston Sturges's The Palm Beach Story - tomorrow on TCM at 8 PM EST. Mike

The New York City branch of the AFM was (and is) Local 802. So if one were a member of the AFM in NYC you would be a card-carrying member of Local 802. Other localities had their own numbers and the union card for those would NOT be an 802 card. Pretty sure that the cabaret card is different - one could be a member of the union and NOT have a cabaret card. So one could do AFM-sanctioned recording dates but NOT play in certain venues. Mike

http://www.addall.com/Used/ http://www.abebooks.com/ Mike

Two books - Maxwell T. Cohen: The Police Card Discord (Scarecrow Press, 1993) Paul Chevigny: Gigs: Jazz And The Cabaret Laws In New York City (Routledge, 1991) One article - Scott Deveaux: Bebop And The Recording Industry: The 1942 Recording Ban Reconsidered (Journal of the American Musicological Society, 1988) Mike

I don't need the lecture. Why do you think I am supporting Lonehill (or other ripoff labels)? Just because I think it's important in a discography forum to know whether or not two takes exist of something? And do you really think there has not been any discussion of the Lonehill label and its problems here on the board? You yourself posted virtually identical comments in July 2004. Now, if you really want to think about it - while you're buying one Lonehill and burning billions of free copies - who the hell do you think you're ripping off? Lonehill? Well, what about the legitimate owners of the material? In effect, you're just as bad as Lonehill now. RCA has a legitimate claim on this material - and you're advocating stealing it. Please. Remember that the board has a policy regarding discussion of distributing CDRs of copyrighted material. In any event, whether "greater issues" or not, it's NOT the point of the Discography forum and it's NOT the point of this thread. Please carry further discussion over to the Reissues forum - perhaps at this thread: http://www.organissimo.org/forum/index.php...=lonehill&st=80 Mike