Michael Fitzgerald

That's ridiculous. Have you never heard of an advance? Mike

Negative - Title: The Time And The Place Artist: Art Farmer Format: LP 12" Label: Columbia Cat. Num.: C2 38232 Rel. Year: 1982 04:25 02/08/1967 CO92093 The Time And The Place 07:12 02/08/1967 CO92095 The Shadow Of Your Smile 09:01 02/08/1967 CO92089 One For Juan 05:48 02/08/1967 CO92091 Nino's Scene 05:27 02/08/1967 CO92094 Shortcake 06:58 02/08/1967 CO92090 Make Someone Happy 02:36 02/08/1967 CO92092 On The Trail 07:48 02/08/1967 Blue Bossa 08:58 02/08/1967 Is That So? 11:52 02/08/1967 Dailey Bread 02:58 06/07/1967 CO92235 Satin Doll 03:46 06/07/1967 CO92234 Misty Art Farmer (ldr), Jimmy Heath (ts), Art Farmer (fh), Cedar Walton (p), Walter Booker (b), Mickey Roker (d) ========== Mike

And here I was worried about a group hug.......

Yeah - I got thrown for a loop on another one like that - Payne & Jordan: Brooklyn Brothers. LP on Muse, CD on Prevue "under license from Xanadu Records Ltd." Mike

But would ya settle for a "good feel"?

And not to start any kind of group hug or anything, but this place beats BNBB and rec.music.bluenote (which was the jazz place to be in the pre-bulletin board Internet) - because the moderation here is on-target. When an asshole starts up, retribution will be swift. rmb is completely unpoliced and just about everyone has given up on it as a regular home (but thank God for the groups.google.com archive of it!) and BNBB (and the other current boards) have industry agendas that do not allow for a free exchange of ideas. This is the place. Mike

I believe those are the ONLY two recordings of Far Away Lands. Mike

This one: Date: June 11, 1973 Location: RCA Studios, New York City Label: Muse Jimmy Heath (ldr), Jimmy Heath (f, ss, ts), Curtis Fuller (tb), Stanley Cowell (p, ep), Bob Cranshaw (eb), Billy Higgins (d, tam), Muneer Abdul Fataah [aka Bernard Fennell] (vc) a. a-01 One For Juan - 07:03 (Jimmy Heath) b. a-02 In A Sentimental Mood - 05:07 (Duke Ellington, Irving Mills, Manny Kurtz) c. a-03 Heads Up! Feet Down! - 07:11 (Jimmy Heath) d. b-01 Far Away Lands - 05:03 (Jimmy Heath) e. b-02 Smilin' Billy - 05:48 (Jimmy Heath) f. b-03 Gemini - 07:51 (Jimmy Heath) All titles on: - Muse LP 12": MR 5028 - Love And Understanding c. listed as Hands Up! Feet Down!

Yeah, but no bells! Mike

OK - This may be my last stab. How about an outdoor show that was rained out and had to reschedule and move indoors? July 10 (was July 9), 1970? At the "Departmental Auditorium"? (was Sylvan Theatre on the Washington Monument grounds). It was part of a 3-day LBJS-DC festival. Mike

Pinned down the LBJS-DC show you saw - March 28, 1970 at the Smithsonian Natural History Auditorium. This was after the Cellar Door gig which was October 27-November 1, 1969. The band was Bill Hardman, Ramon Morris, Albert Dailey, Larry Evans, Blakey. Guests were Etta Jones and guitarist Bill Harris. Tunes included: A Night In Tunisia, Now's The Time, 'Round Midnight, Ev'ry Time We Say Goodbye, It's Only A Paper Moon, Didn't We, and Jones sang on Fine and Mellow. Ringing any bells? Mike

He tried but the connection kept timing out.....

One of my contributions to this project is a chronology of Circle. See it here: http://www.JazzDiscography.com/Artists/Corea/circle-disc.htm Mike

Yes, John "Star Wars" Williams. http://www.heidelberg.edu/~dbramel/jwbio.html Mike

From db 9/3/70 p.40 - =============== Blue Note threw an opening night party for trumpeter Lee Morgan at the Lighthouse. Morgan's group included Benny Maupin, tenor sax; Harold Mabern, piano; Jimmy Merritt, bass; Mickey Roker, drums. Duke Pearson sat in one night. =============== Pearson? Hmmmmmm! Mike

Really? Well, then we're even worse off. Only thing now is process of elimination: try to find some gig somewhere for him every day in September 1965 and then look at the open spaces. Mike

More or less you're going to be dealing with catalog numbers. You also have to know something about the history of the issues - 10 inch before 12 inch (and 78s first for some of them). Other sources would be reviews, Prestige ads (Down Beat, Metronome, etc.) and catalogs like Schwann and Sam Goody, though I'm not sure whether they indicated any dates at that point. I doubt you're going to pin things down much better than a few months. Mike

Remember that the CD version has additional track "Billie's Bounce", which for me is a wonderful bonus. Mike

Here's what I know - Jimmy Smith toured Europe in late May 1965 and again in late November-early December 1965, both times with the same trio. However, I don't know of a September 1965 tour. It *seems* like too much - is there any evidence to support this? Mike

What other info is there about the Jimmy Smith session? Do they give location? I'll wager the Birdland Stars date can be pinned down pretty easily in the Topeka newspapers. The tour was in Chicago on Feb. 18 and in NYC on Feb. 26. The Jamal is very difficult because it was his club and he played there so often. Was the Ruppli Chess book the source for Lord? My French copy of the LP (Vogue/Cadet 515019) says "June 1961". Mike

Shirley Horn had bassist Charles Ables for about 35 years. And she's had drummer Steve Williams for 20 years and still counting. Mike

It was at one point - on Koch, I think. Or was it One Way. Mike

Sounds like somebody got confused between the GARDEN State (New Jersey) and the GOLDEN State (California). (Can we blame this on a Japanese translation?) Mike

Composer Larry Daehn wrote a beautiful piece for band titled "As Summer Was Just Beginning" dedicated to James Dean. More info here: http://www.bsu.edu/web/jdstorer2/portfolio...tudenguide.html Never more appropriate than today. Mike

Looks like I kind of got my wish (see final paragraph) - except I wasn't there to hear it. (But kind of sad to see how low the NYT has sunk in headline creativity.) http://www.nytimes.com/2005/09/28/arts/music/28jarr.html ====================== September 28, 2005 Keith Jarrett: Alone Again (Naturally) By NATE CHINEN No living jazz pianist has wrung more drama from the solo recital than Keith Jarrett. His vaulting, improvised concerts - melodic marathons, gleaming with significance - brought him international acclaim in the 1970's, along with a sizeable audience. His album "The Köln Concert" (ECM), issued 30 years ago, ranks among the best-selling solo piano recordings of all time. But Mr. Jarrett, who has described the solo regimen as an ordeal, has devoted most of his attention to trio playing in recent years. "Radiance" (ECM), released this year, is his first live solo recording in a decade, and his appearance at Carnegie Hall on Monday night was the first North American solo recital in nearly as long. This added up to a major event. As on "Radiance," Mr. Jarrett divided the concert into discrete episodes, each pointing toward the next. He began with a rumbling overture that summoned the stern angularity of modern classical music. Then, in quick succession: an indirectly bluesy vamp tune, a mournfully chiming morsel of flamenco, and a bouquet of harplike glissandi. He was dancing gracefully around a theme, but these first few extemporizations were mere miniatures, suggestive yet incomplete. The more compelling pieces were haunted by familiar song structures. Mr. Jarrett closed the first half of the concert with a troubled but consonant melody that would have sounded at home in a movie score. During the second half, he followed a New Orleans strut with a yearning gospel hymn. The evening's most jazzlike number was a complex concoction offhandedly evocative of Thelonious Monk; Mr. Jarrett embellished it with boogie-woogie flourishes, stomping rhythms and a hard-charging bebop line in octaves. Touch is a big part of his technique; there's a buttery quality to his piano articulation that softens any dissonance. So his avant-garde gestures, which always stop short of atonality, can seem both courageous and reasonable; and on ballads, his tone fulfills a voluptuous melancholy. The final piece bridged the gap, with a round of pastel tremolos over a syncopated Middle Eastern drone. Mr. Jarrett has likened his solo concerts to athletic contests, and at times his exertions underscored the point. He grunted, moaned and sighed along with his melodies; he rose from his bench to stoop over the keys. His entire body swayed and convulsed, as if his hands were affixed not to a piano but to a source of electrical current. (In fact, he has used that metaphor, too.) The audience read these ecstasies as deeply heroic. Mr. Jarrett was called back for five separate encores: a ballad and a blues, both improvised, and the evening's first three bona fide compositions, including the vintage original "My Song" and the standard "Time on My Hands." He basked in each ovation with an appreciative good humor; he seemed to be having a good time. =============== Mike