Michael Fitzgerald

I like it more for the Slide Hampton writing (and playing) than for the Dexter. I agree that it woulda coulda shoulda ..... I never thought it was all that hard to find on CD while it was out there, but I guess that's because I already had my copy and wasn't really looking. But I would see it fairly regularly. Talking MPS, just this week I myself finally snagged The Hub Of Hubbard, which I let a friend buy on CD back in the late 1980s and should have grabbed then. Mike

Oh - that's easy! Gotta change the date from "30 days ago" to "Any date" Mike

Wish I had the Cadence interview of her handy - v.1 n.9. I suspect that question would have come up. If no one has it, I'll try to remember to check next week. Here's a quote from the Fantasy website: "Though she let her feet do the bass-line walking when playing live, "Scottie" preferred to use a bassist when in the studio, and in George Duvivier she had one of the finest and most flexible." Mike

Hmm - this I *know* has been discussed here before. http://www.organissimo.org/forum/index.php...&hl=jazz+improv Also there are other matches for a search on: jazz improv And what the heck, here's a long post of mine from rec.music.makers.guitar.jazz back about five years ago. =========== On Sun, 29 Oct 2000 12:25:27 GMT, "Faizal Ali" <f.ali@utoronto.ca> wrote: >I tried the first three issues of Jazz Improv and decided not to stick with >it. It's a very different publication than DB or JazzTimes. Jazz Improv >focuses entirely on instructional material and has no artist interviews etc. >It did have what appeared to be record reviews, but seemed on closer >inspection to just be descriptive blurbs put together by the record >companies. In fact, most of the material it contained was simply reprinted >excerpts from other books. (In other words, advertising). It did have some >original articles, but these were unsigned and usual consisted of bland >truisms ("use space in your solos") or bitter rants about the music >industry. Also, it's layout and graphics were extremely ugly and >amateurish. I agree that the earliest issues weren't so wonderful in terms of layout, variety of authors, etc. It is basically a husband-wife operation - did you really believe the names in the credits for art director "Al Terrigo" and for design "Dewitt Yahrself"???? But now that the magazine has established itself (v1n1 was Winter 1997-1998), there are more contributors (even some big name players like Mel Martin, Brian Torff, Todd Coolman, Hal Galper) and things look and read much better - the lastest issue even has some color pages inside. I have continued to subscribe and find it a very useful magazine. There are only 4 issues a year, but each issue is the size of a BOOK! v2n4 is 240 pages (8.5" x 11"). There are always good interviews done by musicians that address serious topics. Subjects have included: v1n3: Pat Martino, Sue Mingus v1n4: Billy Cobham, Mike Nock, Jack Chambers v2n1: Horace Silver, Cedar Walton, Mike Longo v2n2: Michael Brecker, Lynne Arriale, Frank Tiberi, Alyn Shipton, Amandah Jantzen v2n3: Wayne Shorter, Bob Brookmeyer, Tom Harrell, Deanna Witkowski v2n4: Buddy Montgomery, John Patitucci, Jimmy Bruno, Joe Diorio, Chuck Mangione, Ronnie Cuber, Claire Daly, Mark Elf, Charlie Mariano, They also include chapters from published books (mostly biographies). I find these are very useful when deciding whether or not to buy. I don't consider these to be just "advertising". v1n1: Nisenson: Ascension v1n2: Berliner: Thinking In Jazz (pt 1); Gourse: Straight, No Chaser v1n3: Berliner: Thinking In Jazz (pt 2); DeVeaux: The Birth Of Bebop; Pettinger: How My Heart Sings v1n4: Chambers: Milestones v2n1: Rosenthal: Hard Bop; King: What Jazz Is v2n2: Shipton: Groovin' High v2n3: Mathieson: Giant Steps; MacDonald: Tadd v2n4: Murray: Good Morning Blues They have also done excerpts from music books. CD reviews vary based on the author (most of the writers are readers, I think). Some are very good, some are useless. But there are now about 100 in each issue. Transcriptions and lead sheets/arrangements make this totally different from Cadence (which is a great magazine). Jazz Improv is a magazine by musicians for musicians. v1n1 solos: Coltrane: Naima; Coltrane: Giant Steps (alt); Henderson: Milestones; Mobley: The Best Things in Life Are Free; Green: The Best Things in Life Are Free; Kelly: The Best Things in Life Are Free; Evans: Turn Out the Stars v1n1 songs: Evans: Two Lonely People; Nemeyer: Bananas and Cream; Coltrane: Moment's Notice v1n2 solos: Liebman: I Concentrate on You; Azarian: Get out of Town; Broadbent: Ballad Impromptu; Brown: Joy Spring; Rodney: Woody'n You v1n2 songs: Monk: Ruby, My Dear; Monk: Round Midnight; Monk: Introspection; Brown: Joy Spring; Brecker (Randy): The Sleaze Factor; Gillespie: Woody'n You v1n3 solos: Martino: Uptown Down; Martino: Alone Together; Morgan: Most Like Lee; Rollins: Airegin; Redman: Home Fries; Khan: Clafouti; Kirby: Point of Balance; DellaRatta: Ara; Ponomarev: Dance Intoxicant v1n3 songs: Martino: The Great Stream; Martino: You're Welcome to a Prayer; Pohjola: Hair, Scarf and Fragrance; McCaslin: Mountain Mama; Spaits: Dark Blue v1n4 solos: Davis: Miles Away; Barron: There Is No Greater Love; Barron: Anthropology; Ballin: Cat Paw Skipper; Mobley: Bye Bye Blackbird; Kelly: Bye Bye Blackbird; Kelly: On Green Dolphin Street v1n4 songs: Parker: Confirmation; Parker: Ornithology; Steen: Seven Come Five; D'Agostino: Son Finite Le Vergini; Johnston: For Thomas; Nock: Ozboppin; Nock: The Emperor's Clothes; Nock: The Philosophers; Nock: Snafu; Kienle: Quiet Earth v2n1 solos: Walton: Bolivia; Zellon: Cherokee Samba; Silver: Stop Time; Silver: Satisfaction Guaranteed; Brecker: Yodel Lady Blues; Brecker (Randy): Yodel Lady Blues; Mitchell: Ah So; Mobley: The More I See You; Hubbard: The More I See You; Kelly: The More I See You; Gordon: The Days of Wine and Roses v2n1 songs: Walton: Bolivia, Zellon: Cherokee Samba, Warren: The More I See You v2n2 solos: Arriale: Turning; Tiberi: The Garz and I; Brecker: Outrance; Brecker: Madame Toulouse; Tyner: Have You Met Miss Jones; Christlieb: Shaw Nuff v2n2 songs: Powell: Hallucinations; Tiberi: The Garz and I; Maslov: Kolobok; Gillespie/Parker: Shaw Nuff v2n3 solos: Shorter: Pinocchio; Shorter: Dolores; Hancock: Pinocchio; Stitt: Our Delight; Garland: Our Delight; Harris: Hot House v2n3 songs: Shorter: Pinocchio; Shorter: Dolores; Dameron: Our Delight; Dameron: Hot House; Dameron: Good Bait; Dameron: The Scene is Clean; Ellington: Sophisticated Lady; v2n4 solos: Kelly: What's New; Kelly: Unit 7; Montgomery: Jingles; Montgomery: In Your Own Sweet Way; Montgomery: Unit 7 v2n4 songs: Montgomery: Jingles; Brubeck: In Your Own Sweet Way; Lacey: Theme for Ernie; Nemeyer: Zip-ta-toonie; Bruno: Polarity; Montgomery: West Coast Blues; Diorio: Monk-ing I'm not even going to get into the CDs which include classic things (many related to the transcriptions or interviews) and also play-alongs. Just one last mention for the great photos - some rare ones by people like Bob Parent, Lee Tanner, Jan Persson, etc. At about $10 an issue, how could anyone not like this? Right now I'm up for renewal and I'm going to do it again. Mike ============ and one from a couple years ago: On Mon, 21 Apr 2003 03:09:29 GMT, mleggett@nospam.ca (Max Leggett) wrote: >Their interviews leave me cold, but that might just be me. I find the interviews to be quite good. All (or almost all) are conducted by musicians so there is a lot of information that would get skipped over or left out in a Down Beat/Jazz Times or even a Cadence interview. I've been a subscriber since the first issue and will continue to support the magazine. The collection so far is already an incredible resource for transcribed solos, lead sheets, and interviews. Record reviews are of no interest to me, so I generally don't read those - but they do cover a lot of releases. The quality of the writing varies - some reviewers are horrible, some are good. It's very much a small-time operation so it's not like they have a huge budget for writing staff. They have some major contributors - like Todd Coolman writing on the demise of the Carnegie Hall Jazz Band. I found that to be a very interesting story. Mel Martin, Paul Combs - some quality people there. In 250-275 pages there's a lot of garbage, but I bet there are more pages in each issue of good stuff than in half a year of something like Down Beat. Mike ============== Mike

I guess I'm just having deja vu. (Unless someone's been deleting their threads.....) I am always glad to learn about new things. I don't often end up with stuff that I've never *heard* of - usually there's some connection. That said, I do continue to buy additional material by artists who are already in my collection. And I have pretty high standards, particularly in the pop/rock area. I know *what* I like - which is not identical to *who* I like. If someone new has got their stuff together, I'd like to hear it. But there haven't been too many who have really knocked me out in recent years. I've written plenty about this elsewhere. I don't limit myself to any particular style, but whatever it is, I want it to be good, based on my own well-established criteria. And sadly, yes, I already own more than enough music to last until my death and I'm still accumulating more. Mike

Wasn't this question asked here - in very much those exact words - recently? Mike

Byrd was in Mass. in July - he joined Max Roach in July 1956 and gigged with MR at Lenox on July 12, 1956. That was a one-nighter. Band was Byrd, Rollins, Barry Harris, Morrow, Roach. May have been the first gig by Roach after Clifford Brown's death. The NYC to Boston trip is no big deal for even the next day, but I just wonder whether it would be done on the *same* day. I guess if I could find a Boston gig that night or the day after I'd be more sure on this. Mike

It's called humor. If you don't get it, fine. But at least two people reading the thread did. I don't see that my comments were negative at all, they were just accurate. Even so, you would only like to see *positive* off-topic comments? To avoid further thread contamination, no need to reply. Mike

The annotated version, I assume. And in true Schaap fashion, every five minutes he turns back two pages to re-cap. Mike

Yes, absolutely right, the folks who stumble and butcher names are the student broadcasters, not the veterans. I do cut the rookies some slack - they're *not* experts and they're probably quite nervous at times being on the air. Eventually they get comfortable, and hopefully get corrected that it's not Charlie Roose and Clint Howston. The veterans manage to supply all the title and personnel details with ease and style, each with a particular personality - Sharif Abus Salaam, Ted Panken, Sid Gribetz, et al. They also, of course, have their music selection personalities - something that is pretty much forbidden by WBGO (and a lot of other stations that are heavy handed with playlists) and something that is harder to read from the WKCR rookies. I think it's vital to keep the veterans on - they benefit the listeners, establishing the high artistic quality of the station AND they serve as models for the rookies. Mike

Donald Byrd - Byrd Blows On Beacon Hill (Transition) Elmo Hope - Informal Jazz (Prestige) Both claim May 7, 1956 as recording date and both include Donald Byrd. The Transition was recorded at "Steve Fassett's home" in Boston; the Prestige at Van Gelder's in Hackensack. Any thoughts? Could these really have been done in the same day in two different states? It's what - 5 hours to Boston? If forced to discount one of these, I'm inclined to keep the Prestige. Is there any supporting evidence for Byrd in Boston at that time? Or is there a better date for the Boston session? Mike

Bruyninckx has a very similar entry to Lord. However, issue number given as 001 and the last tune is listed as "June-boy's friends" not "June-boy's frismas" - ??? Mike

OK - I'm back home with my LPs now - the Jimmy Smith on the Hendricks record is definitely THE Jimmy Smith: "Jimmy Smith, piano (in lieu of organ)" and "the world's greatest jazz organist, Jimmy Smith, testifies on piano" - that settles it. So that's another sideman session. Mike

Ooops! Yes, Broomer not Kremsky. Mike

So is "alternate" Jimmy Smith a piano player really? Possible that he is on the Hendricks album? The Jacquet seems to be the "real" Smith - from a Newport tour in Japan. Mike

Having written a few things for Coda over the years (prior to the Warwick purchase), I'll say it was nice to have an outlet for straight-ahead pieces on less-than-famous players. Bill Smith was always good to me and was supportive of things I wanted to do. I have not paid much attention to Coda since Warwick when Smith stepped down as editor. What I did see seemed to be of lesser quality (and quantity). No offense to Stuart Kremsky, who is another good guy - but it appeared to be a pretty drastic change. Back in the 1960s and 1970s, Coda had coverage that surpassed any other jazz magazine. There were reports - detailed reports - coming in from all across North America. Looking back now, it's a researcher's dream. Down Beat never devoted the space to local scenes like Coda did. Mike

There are those appearance with vocalists: Babs Gonzales and Bill Henderson. Sometimes not issued under Smith's name. There is plenty of confusion in discographies about which Jimmy (or Jimmie) Smith is present (mostly it's obvious based on instrument). At least some of these feature organist Jimmy Smith as a sideman. I'd like to hear the others confirmed or refuted - esp. those not on organ. King Curtis: Get Ready Quincy Jones: Smackwater Jack Illinois Jacquet's Birthday Party (piano) Kenny Burrell: Ellington Is Forever v. 1 & 2 Lenny White: Venusian Summer Robbie Krieger & Friends Cornell Dupree: Shadow Dancing (electric piano) Jon Hendricks: Love (piano) Toshihiko Kankawa: Quarter Run Stanley Turrentine: Straight Ahead Dee Dee Bridgewater: Love And Peace Mike

Looks to me like there are more than 43. Perhaps you could list what you've got. Mike

Hear, hear! And it's worth noting that there *are* cases when two people do own copies of the record (with the same catalog #) and there are differences between the two. (Or cases when the item contradicts itself - different titles on the cover, sleeve, label, etc.) But getting connected to the artifacts is vital. Glad that we have this network with vast resources. Mike

Ben Young is author of "Dixonia" the Bill Dixon discography. Ben is a friend and is certainly highly thought of by me. He's the guy responsible for most all the good things at Verve in the late 1990s in terms of reissues (the Elite series, etc.). Subsequently did stuff for Savoy, RCA, and others. Sometimes he can talk a bit much on the air. Nothing like PS, though. Mike

Galaxy 704 was by Vido Musso, apparently. What about 706? I got no info. Mike

Please remember that WKCR is still in dire straits financially, despite the success of their recent fund drive. While you're enjoying the music, please support them via the "pledge" page on their website. Who else would drop everything to pay proper tribute to a lost great like Jimmy Smith? Mike

Hey, it's front page here. Mike

I have been enjoying the Mosaic box today - this 1957 stuff just does it for me. He's had some time to develop the style, found perfect company with Lou Donaldson, Kenny Burrell, Art Blakey, but it's still so fresh, not at all a hackneyed sound - and I love the registrations he uses with more top on them. Everything just comes together perfectly. The "Yardbird Suite" solo has this point where he *lays* on that one note (I think it's a G) and just comes back to it again and again. The solos of this period have a thoughtfulness - the quotes don't seem like they're being done on auto-pilot, they're more reflective. There's also a particular eighth-note articulation that's a bit more choppy than usual, but it works. This is wild stuff, but it's totally locked in thanks to Blakey. Mike

In case some weren't aware already, there's a 3-page article on Smith and DeFrancesco in the latest issue of Keyboard magazine. Sadly, not a cover story - the days of that happening are long gone. Mike