Michael Fitzgerald

Pea-shooter is a pretty generic term for a small bore horn. Trombone bore size has increased over the years. For example, symphony players now use around .547" (Bach Stradivarius 42) while most jazz lead players use smaller - maybe .509" (King 3B) - there are exceptions, though (John Mosca plays lead on a Conn 78H at .522"). I would be surprised to learn that Cleveland used anything really out of the ordinary for the day. If no one knows his particular model preference, I can try to find out. I recall that there is a lot of good info in the book by Sam Burtis, The American Trombone, I wish I could check but my copy is out on loan. Mike Next best thing - here is Sam's info online: http://www.trombone.org/articles/library/nyletters1.asp

Hey - cut the guy some slack! There's plenty in the 1950s. Once that's finished, he can move on. According to Lord, Cleveland is on over 500 sessions between 1950 and 1991 - and 40 in 1959 alone! (In fact more than that because Lord incorrectly lists some 1959 items as "probably early 1960s"). Mike

Unfortunately, I don't buy new vinyl anymore so I wouldn't be the market for these reissues. Now, if CDs were an option, I'd be there! Mike

Jimmy Cleveland is a favorite of mine - huge output is daunting, even for the 1950s there's at least 300 sessions. For discography work, I strongly recommend the BRIAN computer program that Steve Albin wrote. You can read more here: http://www.organissimo.org/forum/index.php...=14363&hl=albin or at the website that Steve and I run http://www.JazzDiscography.com You can also see around 50 discographies already done in BRIAN. And there are MANY more sessions entered that aren't seen there. With work on Gigi Gryce, Art Farmer, Benny Golson, Art Blakey, and others, I have already entered quite a few sessions that include Cleveland (including the entire Mercury output, for example). http://www.JazzDiscography.com/Temp/boxedsets.htm Since BRIAN has a data exchange feature, I would be happy to export these for you and help share the load of this massive task. If you choose, the finished discography could be linked on the website too. A Curtis Fuller discography is in the works, so that would be a mighty post-JJ triumvirate: Cleve, Curtis, and Slide. Do contact me via email for any further information on this. Mike

Pretty sure not, definitely not as a series. It would be wonderful to have a boxed set of all these. Mike

Museum of Television and Radio in NYC, I believe. Mike

Next: Hard Sock Dance - 1. ASCAP shows one by Quincy Jones 2. ASCAP shows one by Billy Byers [oh man, is this going to get sticky?] 3. BMI shows one by Frank Wess 4. GEMA shows one by Quincy Jones and Ernest Bailey (this is Benny Bailey, born Ernest Harold Bailey) Recordings: Frank Foster (Savoy, 1956) - this is #3 and Frank Wess is on it. Benny Bailey (Candid, 1960) - logically, #4 Quincy Jones (Impulse, 1961) - uh oh - Byers is on the session Milt Buckner (Black & Blue, 1977) listed as Hard Sock's Dance The latest Phil Woods CD is a tribute to Quincy and includes the tune, saying that it originally appeared on the Benny Bailey record and uses composer credits as from #4. After listening to the Foster/Wess and the Jones (and Woods) versions, there are definitely at least TWO pieces. Both are blues in key of F, but not the same. I'm thinking that the Bailey/Jones/Woods one should have co-composers as Jones-Bailey. I have no info on the involvement of Byers, who served as ghost writer for Jones on many things. I have not heard the Buckner - could be a totally different tune. Anyone to elaborate on or refute anything above? Mike

Dan Morgenstern is one of my top five 'police siren' artists. Mike (Probably gotta go with Lem Winchester for #1)

http://www.organissimo.org/forum/index.php...&hl=morgenstern Mike

Suggest looking here: http://www.freeform.org/music/Mainstream.html I would love to see things like: Hadley Caliman, Curtis Fuller, Hal Galper, Roy Haynes - I can't recall seeing any of these on CD ever. Mike

Esoteric Circle is 1969. He's got stuff going back to 1966 in his discography. The only one of those that I've heard is Othello Ballet Suite by George Russell. The other stuff looks like it's all on Scandinavian labels. I'm a fan of a lot of his work, particularly the recordings with Bobo Stenson, the Jarrett things and the Magico band, but I have not kept up with him much at all past the 1980s. Mike

Just noticed that today is the birthday of pianist Bill Triglia, born this day in 1924. I've done a Triglia discography on my website and I know that there are Triglia fans here. He's played with so many of the legends and is himself an underrecognized legend. He was also an early jazz taper, and not just of his own gigs - I'd love to learn more about what he's got in his collection. So let's wish him a happy 81st! Mike

The 2-CD set was an important release in 2001 that I was very glad to purchase (the material had limited circulation before then) but these folks are going to be getting my money again - if indeed it's the same folks behind both the CD and DVD. Had there been a DVD issue at the time, I would probably have skipped the CD too. Mike

Listened to part of the first disc last night. Absolutely wonderful. How anyone could think this stuff (at least the first half of disc 1) was somehow not ready for the public is beyond me. I am so very thankful that it has seen the light of day, and in such a significant way. I noticed one small error in the notes. The Ping records that Hill made with Pat Patrick were not done in 1957, but in 1956. Mike

This is the concert identical to what Eagle Jazz issued on CD a few years back, right? Does it contain all the tracks listed in the Barron discography on my website (July 18, 1990)? Regardless, I look forward to seeing this. Mike

Fantasy just released their 2005 catalog (dated January 2005) and the Farmer is still listed. The catalog is available on CDROM, request on their website. Mike

I thought boc was "back of case" - I was hoping someone with a lot of spare time would come up with a map of the world with numbered pushpins showing the location of all sets. Maybe like how they tag animals. Or how the cops on TV track serial killers. Mike

And mine in NJ - 1485. Mike

Yes, exactly. Adrienne Barbeau is a well-known actress. The thing about these vocal groups is they could have been just overdub sessions so the vocalists might never have met Kirk or any of the instrumentalists. Mike

Well, I heard back from Adrienne who is very friendly but unfortunately: "I did do many recordings as a backup singer, many that I can't remember. As a studio singer, one comes in, sight reads the music, and leaves." So it will remain a mystery for now. There are other possible leads to follow on this. In the meantime...... Has NOBODY ever discovered the identities of "The Memphis Four" who accompany Frank Lowe on the tune "Chu's Blues" (Fresh, Arista/Freedom 1015) - seems that discographers have not even heard the tune to get the instrumentation. Here's what I hear: tenor - I think Lowe briefly doubles tambourine after his first solo is over, trumpet, Fender Rhodes, electric bass, drums, percussion. Which seems like Five plus Lowe. Lowe's Cadence interview did not address this recording. Mike

Next: I have a suspicion that the following are really all the same person - a NYC studio background singer: Adrienne Albert (6 appearances - Cedar Walton: Mobius; Cedar Walton: Beyond Mobius; Weldon Irvine: Sinbad; Roland Kirk: Return Of The 5000 Pound Man; Jay Hoggard: Days Like These; Benny Golson: Brandenburg Concertos) Adrienne Abbot (1 appearance on Duke Pearson: How Insensitive) Adrienne Anderson (1 appearance on McCoy Tyner: Inner Voices) Anyone have info? I guess next step would be contacting this, who I'm thinking is the right person (at least #1): http://www.adriennealbert.com/biography.html Mike P.S. - George Braith: Musart lists Adrienne Barbeau??? I wonder if THIS is another to add to the list.

You are speaking of 1966 into 1967? The only relevant note I have in my files for this period is that the Left Bank Jazz Society show scheduled for August 21, 1966 with Sam Rivers, Andrew Hill, Richard Davis, Joe Chambers did not happen because the band did not show. Hill played with a group that included Rivers in San Francisco at the Both/And, following John Handy - maybe about April 1966. Mike

Still waiting for my copy of this, but in the meantime, here's the ENTIRE Teddy Robinson recorded history (apart from Andrew Hill sessions): Donald Byrd: Chant (Blue Note, 1961) Donald Byrd: Hip Entertainment 1 (VGM, 1961) [one trio track misleadingly issued under name of Miles Davis] Byron Allen: Trio (ESP, 1964) Mike

I'm not sure there is any legal situation to be argued. If the club wanted to CHARGE the band to allow them the privilege of playing, they could do that (this actually happens). If contracts are being signed, everything has to be in the contract. You can't just add things on after the fact. But once you sign it, you're stuck unless someone wants to actually go to the effort of filing a lawsuit. And actually, you CAN just add things after the fact - if no one bothers to sue, who's going to stop you? A contract is just a piece of paper - what are you going to do? Hit them with the rolled-up contract and then take your money? I believe it was about Norman Granz that I heard the following: Someone wanted a favor from Granz (borrowing one of his acts, I think). When asked, Granz agreed to the deal. The borrower said, "Great! I'll get a contract drawn up." Granz replied, "In that case, forget it. I gave you my word and if you can't work on just my word, then I will not sign the contract." If only people could be trusted to do the right thing. Mike

Happened to come across info on this in Cadence 6/86 p.7 interview with Buell Neidlinger: CAD: Let's go to the New York City R 'n' B date for Candid. It was never issued on Candid, was it? BN: That album lay in the can of Candid...It was never issued on Candid. It was issued on Barnaby 11 years after its musical manufacture. CAD: Was it not issued on Candid because the company went under before - BN: Yeah, the company went well under, it sure did. It went well under courtesy of Candid Bob (Bob Altschuler), as we used to call him, who is now a very big record executive. He was the operating exec. CAD: I thought it was Hentoff and somebody else. BN: No, Hentoff was the artistic man there. He was the one who produced the records like that. CAD: It was then later put out as a co-led session on Jazzman. [should this be Jasmine? mf] BN: Co-led? Well, first it came out as a co-led session on Barnaby, because John Waxman thought he had to have it co-led to sell. Actually, it was my session. I made it happen, I arranged the repertoire and I told people what to do and they did. CAD: So it was not originally a co-led session, it was all your session. BN: Right. Cecil Taylor was paid scale as a sideman just like everyone else and I received double scale for being the leader and $50 for writing the liner notes...total of $300 for doing that album. ====== CAD: On that R 'n' B date - BN: New York City R 'n' B? CAD: Right. BN: Which is my title, I invented it. CAD: On that particular date you brought together Ellington music and Cecil Taylor, Archie Shepp, Clark Terry, Lacy, Dennis Charles, Roswell Rudd and Billy Higgins. BN: All my wonderful friends. Clark Terry was the last minute addition, because Don Cherry was supposed to play trumpet, he came to all the rehearsals, but *his* master - Mr. Ornette Coleman - decreed that if he appeared on that recording instead of coming to the rehearsal which he scheduled when he found out about the recording, that Mr. Cherry would no longer be wanted. So I called up Nat Hentoff and he said, "Oh, call Clark Terry and offer him double scale." So I did. CAD: No rehearsal for Clark Terry? BN: No rehearsal, no. CAD: But there was rehearsal for the date in general? BN: Yes, we rehearsed twice in Ros Rudd's and my loft at 128 Broad Street. CAD: How do you think Clark Terry fit in there? BN: As good as he could. I like it. I would have much rather had Don Cherry. The record would have come out, I would have sold a lot more albums and the music would have been more along the lines of what I had envisioned. CAD: Why did you call Clark Terry? BN: I was told to by Nat Hentoff. CAD: You didn't have any control over that? BN: Who else would I call? CAD: I don't know. BN: I don't know either; Joe Thomas - CAD: Ted Curson. BN: Tommy Turrentine, Ted Curson. Ted Curson never really understood that kind of music. He had already flunked the Cecilian test. He played and flunked. We've all flunked. Archie Shepp flunked. CAD: How do you flunk? BN: I don't know. Call up Cecil and ask him. Mike