Michael Fitzgerald

If the Lord CD-ROM 5 is to be believed, there are *three* CD-only tracks on Damisi: "Dark Mood", "Up And Down", and "Pakistan" - the first was issued on a various artists album Mainstream 1036; the second was issued on the Harold Land LP "Choma (Burn)" Mainstream 344. The last would seem to be the real asset since it wasn't ever issued elsewhere. Or is Lord mistaken - was Pakistan part of the Damisi LP? Mike

Looking for details (track sequence, timings, composers) on the following Blue Note albums: Freddie Roach: Brown Sugar Freddie Roach: All That's Good Three Sounds: Vibrations Three Sounds: Elegant Soul Three Sounds: Soul Symphony Lou Donaldson: Say It Loud Lou Donaldson: Hot Dog Kenny Cox: Multidirection Stanley Turrentine: The Common Touch Please specify the issue number/format of your album (and year of release, if listed). Thanks - Mike

For a detailed discography of Duke Pearson, please see my website. The composition index will also show you the other pieces he wrote. Mike

In this particular case, the material is widely available on a bunch of different labels. (I wouldn't be buying a 1983 CD again). BTW, my drive is a new CDR/DVD model. Thanks - Mike

I have a CD just titled "Wynton" (Art Blakey live at Bubba's, Ft. Lauderdale) that works fine in a player, but my computer won't recognize. It's got the little pinholes. It's on the Who's Who In Jazz label from 1983. I was hoping to make a backup copy for when it really goes south, but no such luck. I'll have to buy the material again. Mike

Yes, those Crown LPs are now on Fresh Sound. There's also a live thing that Bob Porter issued on Phoenix from 1959, also now on Fresh Sound. Mike

The only other one the Lord CDROM 5 lists is 1002 by Pate "Inside Plays" from 1984. Cadence still has Patetoe on their LP label list, so perhaps they can still get them. Mike

Kenny Barron told me he couldn't stand the Piccolo album because of the out of tune piano. I do think it's the best thing that quartet did, though. Mike

Recording hiatus? The guy was issuing a record a year as co-leader of Weather Report. It's not like he was off the scene. If the only thing you know about Wayne Shorter are the mid 1960s Blue Note records (that's all that you mention), then gee, no wonder this was a surprise. Mike

Know and love. (And thanks for the inside scoop for the discography) Mike

Only boneheads who can't spell will use the A. Finish, Finite, Infinite, Definite, Definition. Not an A to be seen. Mike

And all four Savoy sessions are detailed in chapter 12 of Dixonia (pp. 333-374), titled, oddly enough "Producer". Mike

Yes, Morgana King. For those who read French - http://www.jazzmagazine.com/Vies/portraits...a/fruscella.htm Mike

Hi Allen - Thanks to you, I got this correct in the two discographies (Fru & Triglia) on my website. Now, whether anyone pays attention is another story..... Mike

If you skip over these records, you'll miss out on some very wonderful performances that are quite straight-ahead - "Reflection" and "Swingin' Kilts" both by Ray Bryant, and "Mirage" allegedly by Art Blakey (it's not the Mal Waldron composition). Not the Jazz Messengers, but not entirely Afro-Cuban. I'd say Holiday For Skins is my favorite of the percussion records. I think both would fit on one CD, so that would be a nice reissue. Mike

For anyone looking to make his first entry into the world of the Jarrett trio I'd point to the DVD releases. At around $20, they're not much more than the price of a CD and are longer anyway. I have Open Theater East 1993 (121 min.) and Standards II (100 min.). There's also Concert 1996 (102 min.). I have Standards I on VHS (as well as the two Jarrett solo concerts which are also on DVD), but I don't think Standards I has made the transition to DVD yet for some reason. Mike

Again, there's more to scoring a film than just being a good composer. You need to know the technical aspects. Like being able to match three feet of film to two seconds of music. Read, for example, the account of J. J. Johnson's entry into the Hollywood world in "The Musical World of J. J. Johnson" by Josh Berrett & Louis Bourgois. J. J. apprenticed with Earle Hagen, a veteran film scorer who taught classes in the subject. Hagen himself had been a jazz player with Tommy Dorsey, et al. before apprenticing with Alfred Newman. Is there any evidence that it was the studio system crumbling or was it perhaps a case that the jazz guys mentioned finally had gained enough knowledge and experience to be able to do the job properly? Another issue (maybe not for the guys named here) would be the stereotyping of jazz musicians, particularly black jazz musicians. Benny Carter was very important in this. Carter also got his Hollywood start through Alfred Newman at 20th Century Fox. Mike

Even if they were paying ME it wouldn't make the book "more interesting" - but thanks for the heads up...... Mike

My initial thought is that Shorty had no film experience and Stevens did, so the studio would want someone who knew the technical requirements for scoring films. That's all supposition, subject to refutation/confirmation through real live facts. Mike

My own preference would be KJ and Chick Corea (who have done concerts together) over the two pianists you mentioned, but I wouldn't pass up those recordings. I have not followed Garbarek at all lately so I really can't comment. But the combinations he did with Jarrett showed a special rapport. Maybe he's still got it in him, maybe not. Mike

Sorry, I realize that Bertrand was unsure whether any of the folios had the works of only ONE composer - yes, for example Eu 671419 "Modern Melody Booklet" is all by Joe Bailey. The vast majority do combine several writers, though. Mike

OK, so maybe this is even more confusing. I was taking my info on the spelling of Tracey and which of the Two Loves it is from the liner notes to the Savoy Trio/Quintet album by Duke Jordan. Duke and Sheila were married from 1952-1962. So I would imagine that in 1956 they were still enamored with each other. It seems plausible that Duke Jordan would retitle a tune he had named "Sheila" after they split, but that's not when it happened. Both "Sheila" and "Tracey" are in the Melotone catalog. This will certainly require another peek at the copyright deposits, which ought to be a snap since they've already been gathered - Bertrand? And yes, absolutely one folio might have pieces by different composers. For example, in the same one folio as "Sheila" and "Tracey" is "Shuffle Boil", "Gallop's Gallop" and "Brake's Sake" by Monk, "Smoke Signal" by Gryce, "Speculation" by Horace Silver, "Blue Walk", "Long Way Home" and "The Strut" by Benny Golson, and other pieces by Jordan from those Signal sessions. The title of the folio is "Modern Melodies" and it was registered at the copyright office on November 28, 1955. The questions would be, was the alternate title on the original copyright deposit, was it on the second copyright (1958), did it have the misspelling, and does the music match with the first or second of the Signal recording version. I don't know that I would characterize Gryce's efforts as "unsuccessful" because he brought so much awareness of the need for composers to retain their copyrights that it is now commonplace for jazz writers to have their own publishing company. Just the other night, Maxine Gordon (widow of Dexter) credited Gigi as the one who improved things in that regard. BTW she's done a lot of work on copyrights and studying contracts. Mike

Tracey is the original title of the tune listed as Panonica. This is the name of Duke & Sheila's daughter. First recording November 20, 1955 for Signal, then the Transition recording on December 8, 1956. Mike

Yes, I got this on Wednesday at the release party. It was a great evening with friends, family, fun, food. Off the top of my head, folks like Bill Crow, Albert Murray, Scott Wenzel, Charlie Graham, Dorthaan Kirk, et al. were there, as well as all the Rutgers Institute of Jazz Studies staff. There were also a number of university officials, etc. since this event was sponsored by the RU library system. (Some nice music too, from James Chirillo, Loren Schoenberg, Dick Katz, Joe Wilder, Daryl Sherman, Joe Peterson - oh, Nancy Harrow sang one too). Obviously, this book is a must-have if you are a fan of jazz writing at all. Morgenstern is undisputably one of the best and has been on the scene, in the very thick of things, for five decades. There are some real gems in this book. One of my favorites is his piece "Discography: The Thankless Science" which is a great overview. It was originally in the Down Beat yearbook (1965 or 1966, I forget which) and has never been reprinted elsewhere. So only a few have seen it. Dan also updated it with a page or so more of later developments. There's a large portion on Duke & Louis, a section on record reviews, one on liner notes, some live reviews, I forget what else. Oh, a nice autobiographical section at the start. If there are questions about specific pieces, ask me later when I have it in front of me. I know they included a section on "controversy" which includes the review of the 1966 concert with Rollins, Coltrane, Hawkins, Zoot, and Yusef. By and large not a favorable review. Several years back I talked to Dan about that and he had vivid memories of the show. No photos in the book, unfortunately, but all in attendance on Wednesday got a program which included a full sheet of photos. Apparently it can be had for under $20 online. Do it. Now. Yes. Mike P.S. - while the concept is the same as Larry Kart's book, one can't possibly consider these as "competition". Apples and oranges, both very tasty. P.P.S. - Speaking of very tasty, Jim may need to adjust his diet to get double the reading time. And this book is 700 pages worth.

Watch out, because "Two Loves" is really TWO compositions. One is titled "Sheila" and one is titled "Tracey" - I forget which is which off the top of my head. This is exactly the kind of thing that I'm straightening out in my discographies. When you include composer credits you can do that. Rust, Jepsen, Raben, Bruyninckx, Lord don't include them and so there is rampant confusion when there are two or more tunes with the same (or even just similar) titles. The Tete Montoliu discography was full of such confusion. Mike