Michael Fitzgerald

Bruyninckx (& Lord) show only these versions: Hutcherson: Now (1969) Shaw: Berlin (1976) Hutcherson: LA Phil (1977) Chambers: Double Exposure (1977) Mike

Maria Schneider Orchestra - Jazz Standard - March 24-27, 2005. Mike

Here is the entry from Carlos Kase & Ben Young's discography of Izenzon: Informal Session: prob. Don Cherry Apparently 6 January 1964. Stereo Sound Studios, NYC. Don Cherry (cornet); Pharoah Sanders (ts); Joseph Scianni (pno); DI (b); J. C. Moses (dr). Unknown titles Note: There are about 30 fragments of music here, including numerous false starts and rehearsal takes of a Cherry composition. There exist about 20 minutes of complete, fully realized takes and some fragments of Cherry playing Monk tunes from the piano (with bass and drums). Donn Cherry's comments in a 1966 Jazz Monthly interview support the impression given by the tape box ledger, that the date above is correct. However, Jo Scianni suggests that he played with J. C. Moses before 2/ above [30 January 1963], and this may have been that occasion. ======== FWIW, Cherry was in Europe (Milan) with Sonny Rollins on January 13, 1963. I don't have any earlier date for that tour. Mike

The information is accurate. The session has circulated. I have seen this tracklist: 1. untitled 2. studio chatter 3. untitled 4. studio chatter 5. untitled 6. untitled Mike

Todd Poynor is compiler of this and he updates it infrequently. I will have to check with him if he's done any revisions. I'm pretty sure I sent him some date fixes since the version went up. Since my own research includes non-commercial stuff, I know there are things that I list elsewhere that include Woody which are not in Todd's listings. But as for commercial issues, I think it's pretty good. Mike

Mercury, RCA, Roulette, Cameo, Mainstream, Enterprise label stuff by Maynard; if you can deal with Kenton, then that stuff (1950-53 is my preference - I'm a fan of third stream things, so Innovations Orchestra is nice). Nice work with Shorty Rogers (RCA) and some other sideman gigs too. Find the stuff with the best soloists and the best arrangers. I don't like things where Maynard is the primary soloist. I prefer him in smaller quantities - but when you need it, he comes through. When he had his working band (Roulette era), he hired some amazing people. Mike

Well, yes, to be sure. But I wonder what your Ferguson listening experience is - if all that you know is MacArthur Park and later, you're missing the good stuff. He's made a lot of horrendous records that lack any semblence of taste. There are plenty of Maynard freaks who believe he can do no wrong, but I'm certainly not one of them. Mike

Faddis can't play changes. He is a repository of licks. His tone is thin and piercing, not full-bodied. Sure I have heard people hit higher notes (I helped prepare a presentation on high note guys that was presented at the recent Maynard Ferguson extravaganza in Los Angeles), but "hitting" a note is not the object. Making music is. Ferguson is an exceedingly rare example of someone who can play altissimo with good tone. Though he's not such a good improviser - he's still more capable than Faddis in that area. The presence of Faddis on a gig or record is sure to drop the musical level several notches. Legacy doesn't do it for me, despite the nice accompaniment. Mike

Sandoval plays Faddis - the lame leading the lame? Sandoval fancies himself a part-time classical player, so I assume that's why those soloists are on the list. He has an album out where he plays, among other things, the Arutunian concerto (a piece composed for Dokschitzer). Mike

I had forgotten about those two NYT pieces - but they were, like so much of the NYT jazz writing, forgettable: I view them as intended for a more general interest audience as opposed to serious fans and I was happy to ignore them rather than get worked up over them. I am not much interested in the jazz-as-sociopolitics side of things, though if that's someone's cup of tea - great for them. I have attended enough of those lectures that when I hear the phrase "the African-American tradition of signifying" I break out in a rash. Based only on the 2 hour roundtable I attended at Rutgers IJS, I take his Monk work a bit more seriously. However, I can see the concern - although I don't recall much if anything that evening being in that "Columbia U" bag, the final product might indeed end up in such a wrapping. Or I could have been temporarily blinded by the rare recordings. I wish Rutgers would get their act together and have those roundtables online in streaming audio like they've been talking for years now. As for the Kelley Monk book (sounds like a used car price guide), I think at worst we will get a huge quantity of previously unknown information published - perhaps not the "warts and all" but we'll have a much better idea about Monk from a particular perspective. Being close with the family is probably both a blessing and a curse. I am just hoping that the blessings will win out. It's a book I am looking forward to reading. Mike

Um - yeah, but Brad loves whom is the question. Does your other car say JAnistn? Mike

That mural Garth posted is missing the Sketches of Spain figure of Miles. Mike

I was quite impressed with Kelley in terms of the depth of his research when I saw him give a presentation on Monk. I have not read much by him, though. Mike

What? No sammich? Mike

Well, come on - Branford Marsalis actually recorded an album with Milt Hinton. The other one talks about how trumpet players who never recorded, who stopped playing and were imprisoned fifty years before he was born sounded. I can't really recall the BM content, but it must have been pretty painless. Mike

Mine is wrong. Lord CDROM shows Beskron and Beskrone. I'm going to go with Beskrone. http://www.stevebeskrone.com/ Nice website mailto tactic - Mike

I last talked with Sam in depth when he was in NYC over the summer - yes, a catalogue is planned. Not sure how that is progressing - when I was down there it existed only as a notebook using the exact words from the tape boxes (quite interesting reading even just that!). At that time there were still hundreds of reels of tapes that had not been transferred (grant money is supporting all this work) - the cataloguing is not the main priority, I'd imagine. Getting to the musicians for interviews and getting the stuff transferred and preserved seems to be the first step - but of course, to get the money, the grant writing gets priority over all that. Mike

Booker Little - the missing link between Dokschitzer and Andre and Clifford Brown. Woody Shaw - the missing link between Hubbard and Marsalis And why am I not suprised to see that Bill Dixon, Lester Bowie, and Don Cherry are missing? When will we see the Sandoval tribute to Jon Faddis? Mike

Yikes - "Gland Lad" ??? Don't even go there. I have no faith in that website. Mike

I would suppose it will be Tom Harrell, Bob Berg, Horace Silver, Steve Beckrone, Eddie Gladden. That's the group that played at Ronnie Scott's in July of 1976. Mike

I don't think John Burks is Dave Burns. Never heard that - I believe it's John Burk, who worked with Buddy Johnson in the late 1950s. It's NOT Dizzy Gillespie, who used the John Burk/Berks/Birks name with various folks. Since Dave Burns DID record with Leo Parker for Blue Note just one month later, using his real name, it doesn't make sense to me that he would be using a pseudonym on the earlier session. Mike

The Moody recordings were for Vogue, some later issued on Inner City 7020 "In The Beginning" - haven't heard and can't say for sure how much space Allen gets. I am told he solos on at least one track. There were a few sessions, 1949 and 1950. Discographies confuse Marshall Allen, listed as "Red" Allen - with Henry "Red" Allen (the trumpeter) so Lord CDROM 5.0 now has the July 3, 1950 date listed with "Henry Allen" playing alto. This is really Marshall Allen. I'm confused about the Patrick reference - Allen does not appear on Pat Patrick's "Baritone Retinue" album titled "Sound Ideas" recorded for Saturn (not even listed in Lord). I don't believe there is any other Patrick solo album out there. Mike Looking under "Henry Allen" I find another session that must feature our man - March 1950 in Vienna with Thurmond "Trumpet" Young (who plays on the Moody sessions as Trummy Young - NOT that Trummy Young). 1990s recordings in Lord for "Henry Allen" are NOT Marshall.

"Until I took a trip to Durham, N.C., last week, nobody had heard the Smith tapes since their rediscovery, except some of the musicians on them and Robin D. G. Kelley" I guess I don't count - I went down to Duke two years ago and spent several days listening to this stuff. I have heard quite a few of the Smith tapes and there are some real gems in there - better stuff than the David X. Young material that was issued. Mike

How about 1949 in Switzerland with James Moody? Mike

I hope you know that it is exactly opposite - the 1938 Pavanne is the source for that Impressions melody. I was just enjoying the Ahmad Jamal version of the Pavanne the other day. Mike