Michael Fitzgerald

The catalog number clinches it. Thanks for that. Yes, it's a compilation. Bruyninckx and Lord discographies show it to include: Black Maybe (from High Energy) Yesterday's Thoughts (from Liquid Love) Portrait of Jenny (from Bundle of Joy) To Her Ladyship (from Superblue) The Surest Things Can Change (from Superblue) Mike

Often imitated, never duplicated, the fabulous Alan Lankin and Jazzmatazz. He will remain my source for info (and not a few used CDs). Glad that he isn't a collaborateur as I think that would be a step down for him. Just got the latest Jazzmatazz email update moments ago, coincidentally. Mike

Only reference I have ever seen to this is on the 1999 Usenet auction post (same one you saw?). No catalog number is given. No other Usenet or WWW reference. It is not in Bruyninckx or Lord discographies, nor is it in the Goldmine Jazz Album Price Guide. Could it exist? Yes, but I am skeptical - usually the items missed are by more obscure artists. If it does exist, it is almost certainly not a US issue. Could be a Japanese-only item. Should anyone have more info, please speak up. Hubbard did record "Midnight At The Oasis" on a couple of his Columbia albums - and there was a 1951 recording called "Hunter Hancock Presents Blues & Rhythm Midnight Matinee" involving Cecil 'Count' Carter - that's about as close as I can get. Mike

It's reverse alphabetical order - milk (optional), flour, egg, breadcrumbs - for the chicken parmigiana kind of thing. Mike

Maybe I'm being overly sensitive, but just to be sure - you're not referring to my site www.jazzdiscography.com - but rather to the Japanese www.jazzdisco.com site, right? That's another example of over-extending. They've taken what's in the old, outdated, reference works and put it on the web. Very little in terms of active research. No adding of things that would make a discography better - track timings, composers, instrument specifics, etc. Mike

Hey, fix what's broke and don't fix what ain't. It seems to me that what's been done is the *exact* opposite. But they're on their own agenda - for example: "One thing we’ve heard loud and clear from our users is that they want to hear what the AMG editors’ opinions are, what they’re listening to, what they recommend, etc." Certainly never heard that from me, but then again, they haven't heard anything from me since I gave up trying to send in additions/corrections after they were consistently ignored. Like the Lord Discography, these guys have bitten off much more than they are qualified to handle. They aren't concerned with being correct - this is apparent from the sloppy work they've been presenting for over a decade. Many of the people who could help them have become disgusted and won't now. If you ask me, start small, do it right, then slowly increase your sphere. Try to cover ALL MUSIC and you are doomed to fail. I mean, it's right there in the name. (Ditto ALL ABOUT JAZZ.) Why the need to be ALL and EVERYTHING? I mean, even McDonald's started off with a single store. You can search and find hundreds of examples of people saying that the allmusic is filled with errors. How about this one? http://www.pcmag.com/article2/0,1759,23025,00.asp But like I said, they'd rather go along their own path and give the people who care what the allmusic editors (remind me what their qualifications are again) have to say, as opposed to getting the basic facts correct and complete. Mike

Notice: You are accessing allmusic.com with a browser that is not currently supported. The appearance and functionality of the site could be impacted. allmusic.com is optimized for Internet Explorer 5.5 and above for Windows. ===== Mike

Absolute crap. Much more difficult to navigate - why don't people understand that radio boxes beat drop downs many times? Compare the ASCAP site to the BMI site. ASCAP is much quicker to use. And it's slower than molasses. Great improvement, guys. Lots of new flash with graphics fading in and out but content is just as incomplete and error-ridden as ever. Style over substance. Can't even do an Advanced Search without becoming a Registered Member. And it won't work with Netscape - I hate Internet Explorer and that's the *only* thing this site wants. Here's what registering gets you: Over 5.5 million music samples available for listening throughout the site NOT INTERESTED Advanced Search which expands your search terms and allows you to combine terms for a more powerful search experience COULD BE INTERESTED - BUT I CAN'T EVEN SEE IT TO KNOW Engaging new editorial features where the AMG editors guide you through an exploration of the best of the best in a myriad of categories - styles, timelines, themes, countries, instruments, moods, and many more. OH PLEASE - AMG EDITORS! WHO CARES? Expanded Artist and Album content including Charts & Awards, complete song lists by artist, and complete album and artist credits. YEAH RIGHT - COMPLETE! HA! THIS IS THE SAME OLD STUFF THAT USED TO BE THERE, WRONG, MISSING, HALF-BAKED AT BEST Anyway, after registering - advanced search is nothing great and on my first try I get: Error 2 timeout. Trying again, it goes through and gives me absolutely NOTHING related to my search. The old site would come up with 12 hits and this new, improved things can't find ANY OF THEM. Thanks, schmucks, for wasting my time. Mike [please, Mike, tell us how you REALLY feel...]

Miles Davis - Porgy And Bess (Buzzard Song) Ernie Royal. Mike

Bingo - we have a winner. Milt Jackson and Dexter Gordon. Congratulations - that was pretty quick, too. The Gigi Gryce Blue Notes were leased from Vogue. The Monk on Savoy was Gigi's session AND it was for Signal, not Savoy. The Blakey on Savoy was originally on Elektra. Drop me an email, Joe, and we'll sort you out. Mike

No - you gotta check the sources. "Label subsidiaries count, but later reissues on purchased labels or leased sessions do not. " Mike

No winners yet.

Indeed, thanks for this. All right - in the spirit of good karma, I'm going to present the next round of jazz trivia (and it doesn't have to be strictly Blue Note). Name the artists who recorded AS LEADERS for not one, not two, not three, but ALL FOUR of these labels (before 1980). Blue Note Prestige Riverside Savoy Label subsidiaries count, but later reissues on purchased labels or leased sessions do not. Clearly labeled co-leadership (more "and" not "with") counts, but "no" leadership doesn't (y'know, like a collective blowing session). So we understand - Donald Byrd makes the triple, but not the home run: Blue Note, Savoy, Prestige (The Young Bloods with Phil Woods, for example) - but never Riverside. The only Byrd that could be claimed is the Gigi Gryce Jazz Lab date, but Byrd doesn't get co-leader credit on that the way he does on say, the Columbia Jazz Lab albums. Or maybe the Pepper Adams 10 To 4 album - but it's still a "with" not an "and." OK? By my reckoning there are TWO such artists. First one to nail BOTH names wins. One entry per contestant, all entries must be made on this thread, no private messages, no emails. The winner gets a choice of: 1. Set of three promotional postcards: Perry Robinson (act now and I'll get Perry to autograph it for you), Maria Schneider, and Anthony Braxton/Signal To Noise 2. A jazz magazine from the magic grab bag (could be IAJRC Journal, Down Beat, Jazz Times, Coda, Jazz Journal International, Jersey Jazz, and more) and the chance to carry on with the trivia quiz. Take your marks - Ready? Steady? Go! Mike

I believe you are only missing Children Of The Night (one of my very favorites). To be sure, here are the CD tracks: vol. 1 - 84451 Three Blind Mice Blue Moon That Old Feeling Plexus Up Jumped Spring Up Jumped Spring (alt) When Lights Are Low Children Of The Night vol. 2 - 84452 It's Only A Paper Moon Mosaic (closes with The Theme - unlisted) Ping Pong The Promised Land Arabia Last 2 from Village Gate 8/61, all others from Renaissance Club 3/62 Mike

Serenade to a Soul Sister - Horace Silver, photo by drummer Billy Cobham Mike

Good point, though if you are in the habit of getting "the new" record by whoever when it comes out (and you're buying them when they're making them), I guess you'd keep fairly close to chronological. New Soil is pretty darn near the ground floor for LaRoca. It was his third issued date, I think. Mike

OK - here's the (half-baked) fruits of my investigation: Dança Illusória (end of piano intro) G7b9 | | | G7b9 | | | || (ensemble) EbMaj7 | A13b9 | Ebm7b5 | Ab7 Dm7b5 | G7b9 | Cm (#5) | Bdim7 Am7b5 | | D7 | D7b9 G7b9 | | | || Cm7 | Cm7b5 | Cm7b5/F | F7 Bb | Bm7b5 E7 | Am7 | Am/G# Am/G F#m7b5 | | B7 | E7b9 | | | || (tag) FMaj7 | E7 | Am Am/G# | xxx xxx | xxx | Bm7b5/E | Abm7b5 G7 F#m7b5 | F7 E7 | Am Am/G# | xxx FMaj7 | E7 || (next line) Abm | | Abm7b5 | Db7 GbMaj7 | Gm7b5 C7 | Fm | Fm/E Fm/Eb Dm7b5 | | G7 | C7b9 | | | || (piano solo) FMaj7 | B13b9 | Fm7b5 | Bb7 Em7b5 | A7b9 | Dm | Bm11 | | E7 | Bbm/F A7b9 | || (next line) Dm7 | | Dm7b5 | G7 CmMaj7 | F#7b9 | Bm | Bm/A Abm11 | | Db7 | Gb7b9 | | GMaj7 | Gb7 || (tag) Bm Bm/A# | A6 | Abm7b5 | GMaj7 Gb7 Bm Bm/A# | A6 | Abm7b5 | GMaj7 Gb7 Bm Bm/A# | A6 | Abm7b5 | GMaj7 Gb7 || [NEW KEY] Bbm | Bbm7b5 | Bbm7b5/Eb | Eb7 Am7b5 | D7 | GmMaj7 | Gm/F Em7b5 | | A7 | D7b9 | | | || GmMaj7 | | Gm7b5 | C7 F#m7b5 | B7b9 | EmMaj7 | Em/D C#m7b5 | | F#7 | Bb7b9 | || (next line) [NEW KEY] (trombone solo) Em | Eb/E | Em7b5 | A7b9 Ebm7b5 | Ab7b9 | Dbm | Db/Cb Bbm7b5 | | Eb7 | Ab7b9 | | AMaj7 | Ab7b9 (tag) Dbm Dbm/C | B6 | Bbm7b5 | A7 Ab7 AMaj7 | | Bbm7b5 | Ab7 Dbm Dbm/C | B6 | AMaj7 | Ab7 || Em | Em7b5 | Em7b5/A | A7b9 Ebm7b5 | Ab7b9 | Dbm | Dbm/Cb Bbm7b5 | | Eb7 | Ab7b9 | | | Ab7b9 | || (next line) (ensemble) Dbm | | Dbm7b5 | Gb7 BmMaj7 | | Bbm7 | Bbm/Ab Gm7b5 | | C7 | F7b9 | || (next line) Bbm | | Db/Eb | Eb7b9 Am7b5 | D7b9 | Gm | Gm/F Em7b5 | | A7b9 | D7b9 | | EbMaj7 | Am7b5 D7 || (tag) Gm Gm/F# | Gm/F Em7b5 | EbMaj7 | D7 Em7b5 | D7 | Eb7 | Am7 D7 Gm Gm/F# | Gm/F Em7b5 | EbMaj7 | D7 || [NEW KEY] Em | | Em7b5 | A7b9 Ebm7b5 | Ab7#5 | Dbm | Dbm/Cb Bbm7b5 | | Eb7b9 | Ab7b9 | | | Ab7b9 | | | (coda - Db pedal throughout) E | Eb | | D | Db | | Dbm | Cm | Ab7sus4 | Db || FINE The xxx is where I got lazy and forgot to go back to figure it out. But it's 4:30 AM - enough. BTW, I was mistaken about the unison trumpet note. It's their B-flat (not B). It occurs on the Dbm in the section prior to the coda. And it kicks ass. I interpret the coda to be a nice tip of the hat to Gil Evans (introduction to "My Ship"). I apologize in advance for any mistakes - like I said, half-baked. If you want it correct, go pay yer money at the Maria Schneider site and get real scores. Mike PS - too bad the damn tabs don't show up right. Between each | is one measure. Except when || marks the end of a section.

Hey, if you produce a masterpiece, people will talk about it! And I think this qualifies. I've listened to it three more times driving around today and am starting to internalize the pieces. Agree with Lon that this is the zenith of MS records (thus far). As far as I'm concerned, a new Maria Schneider album is BIG news. I don't think I'd be so eager to do the ArtistShare thing for someone who is putting out trio or quintet stuff. But every MS record is quite extraordinary. The passage in the Soleá that Bev points to, with the Donny McCaslin solo is phenomenal. There are several things that make this work so well. The accelerando is smooth (if your band has a conductor, there's more likelihood it will do better on this than a bunch of players without a focal point). The multiple tonguing in the brass is damn tight, hooking up with the percussion (likewise tight). The rhythmic figures are shifting, unexpected, building tension. The sudden (and vertically precise) pause opens things up for a scorching run (fluently executed) into a primeval howl that is certainly one of the best musical expressions of grief or loneliness, which is what Soleá is about, if I recall my Sketches of Spain liner notes well. McCaslin just wails like a banshee - and it works so beautifully. Obviously this is something that took a ton of rehearsal. Just coming up with the idea was brilliant - that accelerando/multiple tonguing/mixed meter thing doesn't happen in jazz. Then getting the band to do it (and you don't see it in jazz at least partly because you can't find players who can do it that well). Then getting the soloist to fit in with the established written parts (and I wonder how that process worked out - were sections of the solo pre-determined to fit better with the overall construction?). I also wonder if I'm rehashing all the lecture/discussion stuff that I could be paying for on the website. In other news, the Dança Illusória makes so much good use of modulation. I'll have to spend some more time checking out how that works. The move (is it up a whole step?) right before that trumpet climax makes all the difference. And check out how it's gotten to - it's preceded by a prolonged tag, sort of treading water, but building tension and developing the musical ideas before the unexpected modulation happens. Mike

I have absolutely no complaints about the sound and nothing but raves for the material. The version of Mosaic alone is worth it. One of the absolute finest examples of the intensity of Blakey. He never misses the form and is playing that mambo figure at 330 bpm - indestructible indeed! You also get the earliest recordings of that sextet with Freddie and Cedar, from the Village Gate, two tunes, one of which (The Promised Land) was not recorded by the band elsewhere. Miss it and you'll regret it. Mike

Since the Rollins Vanguard date was LaRoca's very first recording (he was 19, pretty fresh out of NY's High School of Music & Art), I'm curious as to why Chuck was more into Pete than Elvin - had you heard Pete on a gig or was it solely based on what was on the record? Mike

Dan Skea continues to work on the RVG project, documenting everything that Rudy has done in his career. The Blue Note book alone doesn't do it since Van Gelder did work for so many other labels. Give me the date in question and I'll see what I can do from my own research. I keep a chronology database (not just for record sessions, but for gigs and other jazz events). At this point it's got about 21,000 entries (mostly post WWII). There are a number of other sources I could refer to as well. Mike

works for me

Yes, I was interested to learn more about Towns when you first mentioned him. I'll keep an eye (and an ear or two) open. And hello to fkimbrough, who I noticed checking out this thread. Beautiful job, as always. Mike

I've been listening to all her CDs over the past couple of days and I do see the point you're making about how the releases have evolved. For one thing - note that the last two are not by the Maria Schneider Jazz Orchestra, but are by the Maria Schneider Orchestra. Which goes back to the idea that this is concert music - no need to even get the jazz label involved. It's music and it's wonderful. In light of the NYT article, I wonder how much of the "jazz" name and the move toward "gentler" sounds were due to label influence, also the first album had 9 tunes, the most recent only 5. I suppose commissioned pieces (all 5) are generally longer, though. But I think it does have to do with personality - what we are getting is *more* MS. And I love it. But while there's not something like Wyrgly or Bombshelter Beast on the recent CDs, there is plenty of high energy music, or rather, music that contains sections of high energy. Now I want to go back and hear that trumpet high B (I think on the Buleria...) - great stuff. Mike My mistake - the amazing unison high B is about 1 minute before the end of Dança Illusória. Mike

Béla Szakcsi Lakatos was a new name to me when I was doing work on the Attila Zoller discography for my website. He plays on one of Zoller's very last recordings, made in Budapest, along witih Aladár Pege, Sr. (b) and Imre Köszegi (d). Issued on Enja. Mike