Michael Fitzgerald

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

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

It seems to me that there is no longer "in between sports seasons" - they all have been extended so there is instead considerable overlap. Mike

My GOD - and you'd rather have the Pablo ORIGINALS!!!???? Pablo - the label that would issue things with some large-sized text as the cover? I think they saved money by not using a photographer, nor even an art director! Mike

Apparently he is currently living in San Francisco. In the early 1970s he founded the group Mark-Almond with Jon Mark. The drummer was Dannie Richmond of Mingus fame. Mike

Yes - this is on Timeless called "The Charlie Parker Memorial Band". The poem is by Walter Bishop, Jr. Alto player is Harold Jefta. http://www.timelessjazz.com/shop/product_i...126&language=en Mike

Come on, people - $13 used via amazon. Bite the bullet. It's a great book. I paid full price when it was new - yeah, I'm a sucker, I know. Mike

Wes Montgomery died suddenly in 1968, very shortly after his "prime" - while Grant Green died in 1979, well past it. So it could be that Wes immediately became a dead legend and has had that kind of aura building for 35 years, while Green was kind of forgotten at the time of his death and nothing much ever changed. Agreed that Green's reputation has benefited from the reissues. Mike

And writing about writing about music is like.................. (Sometimes we even get into writing about writing about writing about music here) Mike

Again, I have to point to the distinction between criticism and other writing. If you are saying "Do we even need jazz writers?" that to me is a very different question - because you've now eliminated all historians, biographers, theoreticians, analysts, reporters, as well as the liner-note-writers, reviewers, in addition to the true critics. Hey, even the discographers - a friend is preparing a presentation and will be making the case that discography benefits *everyone* in jazz (not just the total nerds....). Are there some people who look to get their viewpoint handed to them by a critic? Apparently yes. I've met some on the Internet. These are the people who are not open to listening, reading, or thinking for themselves. Some here have talked about how great criticism sends them back to the records - well, some people never bother to listen to the records. They just know the party line. That, I have a problem with. But one can't really blame the writer for how their work is being abused. Writing on jazz can supply insight - one person's insight - which should never be taken to mean "the only insight" or "the true insight". Get your *own* insight (which still isn't the only or true insight) by experiencing things yourself. Then when you read something you'll be better able to appreciate it. And I like what Chuck wrote about being challenged - but I think some folks don't put up a fight. They're not challenged, they just live and die by the Penguin Guide (or whatever). When I read some of the works in the collections of Balliett or Kart or Morgenstern or Schuller, I have my own perspective on the subject that let me say, "Yes, I agree" or sometimes "No, but I understand that view" - but I am especially sensitive to what the writer's strengths and weaknesses are, and musical knowledge is an area that too many writers try to bluff their way through (so sometimes I say "What an idiot - he's out of his depth!"). Even someone who *does* know music like Schuller has faults because he's not a jazz player. Having done the research work, I have a pretty good idea of whether or not a writer did his homework, and in some areas I can spot sources because I spend so much time with those materials. A mediocre writer is unlikely to surprise me because the research will be shallow. What I appreciate is NOT hearing the same old story, but instead getting fresh perspective - thoughtful, reasoned perspective that has solid backing. For a start, I want to find someone who's done at least as much listening as I have - not less. I also put a lot of value on primary sources - let me hear from the folks who were *there* - not godawful Wynton Marsalis talking out his ass pretending he was there. There are plenty of times when I will hear *about* someone before hearing that person. I don't make any judgement at that point other than to say, "Hmmm - sounds interesting. I'll have to check it out." Then, when I get the chance to experience whatever it is, then I form my own opinion. Like Larry Kart mentioned Anita Brown recently - I'm interested in checking out her record. I don't know that I will agree with him (particularly with regard to Maria Schneider, which was the context of the mention, since Larry hasn't heard Schneider's latest album - which I would say could very well change some of the views he expressed), but I know that Larry has ears and gets a lot of things. He doesn't have *my* ears, which is why *I* need to hear the record. An aesthetic experience cannot be second-hand. What works for me might not for him and vice versa, which is great. Now, once I check it out, I might want to discuss it further with him, and with others who have heard it. Mike

I know his work best from the "Phil and Quill With Prestige" LP but discographies show him on 10 sessions - 3 with Woods, 2 with Eardley, the Sunkel you mention all between 1954 and 1957, then 4 with Dick Meldonian in 1980-82. Mike