Michael Fitzgerald

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

Bruyninckx (& Lord) show only one performance of this piece. Another reason to include timings (and notes regarding them) in discographies! If indeed the shorter version is just an edit of the longer, I would NOT list two performances, but would list the longer timing and indicate in a note that certain issues have incomplete versions - same as one would do for cut-down 45 rpm versions, etc. Bruyninckx CDROM -Jazz Workshop- : Hal McKusick Quartet : Hal McKusick (cl,as) Barry Galbraith (g) Milt Hinton (b) Osie Johnson (d) George Russell (tamb-2,arr,comp-1) Al Cohn (arr,comp-2) New York, March 3, 1956 G2JB2703 The day John Brown was hanged (1,2) Vic LPM1366, BB 6471-2-RB, (Eu)ND 86471, RCA 2135734-2 G2JB2704 Lydian lullaby (1) Vic LPM1366, BB 6471-2-RB, (Eu)ND 86471 G2JB2707 Ain't nothing but a memory now (2) Vic LPM1366 Note : RCA (Eu)2135734-2 entitled "Victor Jazz History Vol.15-Progressive Jazz", rest by other artists. Bluebird 6471-2-RB (CD) as "The RCA Victor Jazz Workshop-The arrangers", see following sessions & rest of this CD by John Carisi and Rod Levitt. Entire session on RCA 191352-2 and 2158055-2. Lord CDROM 5.0 [M4504-5] Hal McKusick Jazz Workshop: Hal McKusick Quartet: Hal McKusick (cl,as) Barry Galbraith (g) Milt Hinton (b) Osie Johnson (d) George Russell (tamb,arr,comp-1) Al Cohn (arr,comp-2) New York, March 3, 1956 G2JB2703 The day John Brown was hanged (1) Vic LPM1366, RCA Bluebird 6471-2-RB [CD] G2JB2704 Lydian lullaby (1) - - G2JB2707 Ain't nothing but a memory now (2) - Note: RCA Bluebird 6471-2-RB [CD] titled "The RCA Victor Jazz Workshop - The arrangers"; see flwg sessions to April 4, 1956 for more titles; rest of this CD by John Carisi, Rod Levitt. Mike

Instead of all the rhetoric, how about an answer to the very interesting question that was posed? Mike

OK - here's a big list: Richard Wyands, Illinois Jacquet, Gary Sargent, Dan Frank, Randy Eckert, Dan Morgenstern, Dizzy Gillespie, Tom Olin, Al Hibbler, Bernard Purdie, Dick Griffin, Irwin Stokes, Pat O'Leary, Kenneth Bolds, Dorothy Donegan, Matt Haviland, John Gordon, Emilio Lyons, Arnett Cobb, Clark Terry, Larry Ham, Milt Hinton, Bob Porter, Cecil Payne, Joshua Roseman, Mona Hinton, Sonny Rollins, Arthur Daniels, John Grimes, Walter Blanding, Jr., Jonah Jones, Aubrey Tucker, Matthew Hong, David C. Glasser, Bob Cunningham, Ron Della Chiesa, Edward Preston, Harry Edison, "Wild" Bill Davis, Buddy Tate Rudy Rutherford, Javon Jackson, Marik Vos-Lundh, Hugh Brodie, Lionel Hampton, John Simon, Jim Leff Mike P.S. - pretty sure Gary Sargent s/b Gray Sargent

Perhaps: Neben Altmeister Jacquet spielen u.a. Hugh Brodie (ts), Cecil Payne (bs), Larry Ham (as), Dick Griffin (tb), Frank Gordon, John Gordon (tps), Pat O'Leary und Richard Wyands (p), Bob Cunningham (b) und Bernard Purdie (dm). http://www.freiburger-medienforum.de/kino/...frischluft.html Mike

Watching this now - magnificent. Getz looks wonderful, not old and frail at all. We lost him much too soon. This is a good band - though not as perfect as the Reid/Lewis one. Alex Blake is a bit more extroverted as a soloist, maybe not saying quite so much. Camera work is maybe a bit heavy on the filters - everything glitters and shines. And I would have appreciated some lingering wide shots rather than so many close-ups. But very professional and excellent quality on the DVD. That thirds lick of Kenny's does wear on me - twice in the first tune. Mike

Isn't the 2nd volume the Modern one? First volume is Ragtime to Swing. Or are you saying there is a 3rd? Mike

Separated at birth?! But I'd say Payne is correct - look at the front edge of the hair: straight not pointed. Photo #2 and #3 seem to be from the same place - same date as well? Woody Shaw was my thought for the other fellow - I note that Payne and Shaw recorded together in 1969 with Archie Shepp. (Shaw and McShann - never). Mike

The larch Mike

The owner of the copyright does NOT necessarily mean the composer, so just because Don Cherry or Duke Ellington or whoevever is bleedin' demised doesn't mean that there isn't someone who owns the copyrights and can take any appropriate legal action. Mike

I don't think there is any additional material. It was specifically intended to have each writer do just two pieces. Four tunes per session was standard. There are no gaps in the master numbers. The Russo and Charles were done on April 30, 1959 and the Albam and Macero on May 15, 1959. The Macero pieces are included on his own album, issued on Stash as "The Best Of Teo Macero" and now available through cdbaby. Mike

Excellent news - When you receive, could you post detailed discographical information? This item is not included in the standard sources. If the label is handwritten, it sounds like a demo disc kind of thing, not a commercial issue. Do we think this is 1956? Any ideas on composers? Mike

I imagine that Brubeck has a very different perspective from Bley. I like them both, though neither is my favorite pianist. It seems to me that Brubeck has always worked more towards the "popular" side of jazz, so his experiments were maybe lightweight compared to how others dealt with similar things. But he did get certain things into the public consciousness and I think the reception that he got in the 1950s and 1960s was good for music and creativity: I don't think the college crowd would have got behind someone else who wasn't as audience-minded. Post-Desmond, Brubeck continued to experiment in his own (sweet) way, doing the orchestral/religious things, the Two Generations, the album with Braxton & Konitz, and the group he had with Jack Six, Alan Dawson, and Gerry Mulligan was a good one. For the last 25 years it seems to be coasting, though. But he does put on a nice show - last saw him maybe 12 years ago - and the group (Jack Six, Randy Jones, Bob Militello) was adept - handling spontaneous meter changes wonderfully. I don't have all his records, don't need them mainly because I don't find all that much variety - but just last week I listened to Tritonis from 1980 - Chris Brubeck is a very good trombonist, wish he'd play more. Mike

Thank you Jim - every day I teach students tone production, reading notation, compositional/improvisational skills, etc. These kids are then better equipped to deal with music, not only as players, but as listeners. If my fourth graders can learn notation, it should not be feared by adults. As Lewis Porter explains, music notation is just a graph - and we see graphs in newspapers and on TV every day. Now, as for "soiritual/emotiional" - I wish you would stop using these technical terms. I tried looking them up and couldn't find them in the Harvard Brief Dictionary, nor in the Webster's Collegiate. Mike