Michael Fitzgerald

The accusation was made that Miles "never saw a penny" - the evidence that I presented from Lohmann suggests otherwise. Mike

You are so very sure in your pronouncement. How? Have you seen the accounts books? Here's what Miles researcher Jan Lohmann had to say when this was discussed in 1998: Date: Thu, 21 May 1998 05:54:25 +0200 Sender: Discussion of Jazz trumpeter Miles Davis & his vast musical career <M...@NIC.SURFNET.NL> From: Jan Lohmann Subject: Dragon contra boots. The Dragon records is legitimate except that Miles then had a contract with Columbia. Miles was satisfied with the recordings and had his lawyer send Dragon a letter of thanks (addressed "Gentlemen") when Dragon payed the yearly 'royalty check'. Jan Lohmann

Yes, member. Never attended any conferences - can't get work to let me go to IAJE when it's in NYC and various music education things AND something only marginally related to my "real" job. Some good articles in the Journal over the years, but still a bit biased against jazz in terms of discography (see their articles and panel discussions on "Formulating Guidelines"). Vincent Pelote, who is on the ARSC board, asked for some help improving this area and I look forward to discussing things. Mike

I think they sound like what I expect from Gryce in that period, but I'm the last person who would say that Gryce is run-of-the-mill. Mike

The phrase "run-of-the-mill" was used by you, not me. Mike

Here is my old mail on this: Date: Mon, 24 Aug 1998 17:57:47 -0400 Reply-To: Discussion of the life and works of John Coltrane <COLTRANE-L@LISTSERV.UH.EDU> Sender: Discussion of the life and works of John Coltrane <COLTRANE-L@LISTSERV.UH.EDU> From: Michael Fitzgerald <fitzgera@ECLIPSE.NET> Subject: An interesting tidbit Content-type: text/plain; charset="iso-8859-1" While working on my Gigi Gryce book project, I decided to take a break from Gryce and listen to "the other part" of a record I've been digging into. The album: Art Farmer Septet (Plays The Arrangements and Compositions of Gigi Gryce and Quincy Jones) The details: Prestige 7031 (OJC CD 054). The track: Mau Mau (Quincy Jones & Art Farmer) starting at about 1:44 The date: July 2, 1953 The tidbit: the middle section of this is darn close to the "riff" from Acknowledgment (the part that goes "A Love Su-preme"). It's at more or less the same tempo (not in the same key, though). It's most striking at the beginning when it's coming out of an Afro-Cuban vamp. The music is rather forward-looking, heavily Gillespie-influenced, but still neat to hear modal stuff this early. I checked with Lewis Porter because I was surprised that it didn't come up earlier. Particularly since source material is a specialty of his. Here's his response. >I'm listening to Mau Mau right now at your suggestion. Nobody has mentioned > this before?-good going Mike! Though I must agree with you that the basic Love > Supreme motive is rather generic and I'll bet you can find it in other Latin > pieces, so this isn't as surprising as it may seem. It's what Trane does with > it (of course). >lewis If this were done after ALS, I'd think it was a reference, unquestionably. But it's 11 years earlier so I was slightly shocked and amused, perhaps you will be as well. The album is great on its own merits, anyway. But the rest sounds like 1950's music and Mau Mau sounds way ahead of its time. Mike

I was the one who brought the Mau Mau similarity to the attention of Porter and Khan. I believe I am appropriately noted in the Kahn book, the Porter I think had already been published. Monk was early, but not the first - Roy Johnson, his predecessor in the Hampton band played electric before him. Mike

Unfortunately, the Complete set is incomplete. (Missing at least 1 take of Victory Ball by Metronome All Stars.) Thanks, Orrin. (Still a good set, though.) Mike

Someone might want to do some statistics on the longevity of jazz clubs. Were the clubs that closed up in the late 1960s an anomaly or was it just their time to go? Maybe there just aren't many clubs that last longer than - say, 5 years. Thinking about say, San Francisco, there seems to have been a string of "main" clubs - Black Hawk, Jazz Workshop, Both/And, Keystone Korner. The first two were concurrent, but the Black Hawk died earlier, I believe. It seems to me that the others were more of a succession. If this is accurate, it would show that the city could support a jazz club, but maybe not a lot of clubs. Or maybe there are "tiers" of clubs and to succeed, you need to "know your place" and not be too ambitious. Mike

Why is this topic in "discography" not "artists" (or "recommendations")? Mike

Actually no - I have this book and I can't locate it right now, but DM specifically notes that it is NOT a scholarly book and that it does have some problems. I wish I could find it - I'll look again. I want to say that it's a yellow 8.5x11 softbound book. Mike

Agree about the 1970s vs. now. The natural evolution was still happening, even if some experiments turned out to be dead ends. With the introduction of WM, it was "play it safe" and "turn back the clock" - and quite a bit of jazz still hasn't recovered. Mike

$13 used via amazon. Mike

Please cross-post this on the thread asking for Discwasher D4 fluid. Mike

Ladies and gentlemen, boys and girls - put your hands together for the hardest working man in Cambridge, Mass., the owner and operator of the world-famous Stereo Jack's at 1686 Mass. Ave. - a *real* *live* *independent* record store - http://www.stereojacks.com/ (I regret that I've never personally ever handed over my paycheck to him, but I know there are some folks here who have. Please step forward and testify.) You've seen his name in liner note credits (Koch label springs to mind). Those in the Boston listening area may remember him from his 18 years doing radio shows on WMBR and WGBH. He's a wealth of knowledge - not just jazz, neither. He was recently up for discussion here for his outstanding work compiling the jazz musicians pseudonyms list hosted on my website. Jack has been one of the good things about the Internet for a long time. He's well-known to many of us here already. If you don't know him yet, treat him nice and you'll go far. (And remember, he's got his own store, so he won't be trying to sell you stuff here......not until he's made the requisite 10 posts.) Mike

Does it have the problem with Equinox missing the starting few notes? Was that ever corrected on the CD boxed set? Mike

No - not to my knowledge. I myself have used "Gerry Michaelson" for composing on occasion. (Mostly so when I put the pieces in front of my students they don't freak out and I can get some honest opinions.) Mike

Jack just sent me the latest updates, about a dozen items. Now online. Mike

Yeah, like how to go back in time so he can make those gigs. Mike

I liked him with the Dralls. Mike

Please do send all additions/corrections to Jack Woker via his address on my website. Mike

http://www.johnmayall.com/fanmail_classic.html - best I can do. Mike

Suggest you just pass along his comments with this URL http://www16.brinkster.com/fitzgera/pseudo.htm Mike

The current version of the pseudonyms list is on my website. This is the one and only. Accept no imitations (it has been ripped off and then left not-updated at other sites) - though it is nice to see George Avakian's comments. And Jack Woker does take responsibility for the accuracy and will update and correct periodically. Mike

And the response: [take your pick] A. "And who the hell - is Cyrus Chestnut?" B. "Oh no, not going to pin that one on me....." C. "Yeah, yeah, well have the promo copies arrived? I'm planning on trading those in for some store credit." Mike