AllenLowe

bump it up - the Bailey is gone (as is Bailey) but the Ray Charles is still available -

Chris is absolutely right - this is political - unless Jim wants to create a special Berigan/Nazi forum -

just tried it - and unless I goofed, I find no mention of Dolphy recordings -

'will thorough documentation better render the psychology, spirit, and "essence" of a specific musician? ' absolutely - but even more so in jazz, because it's not just esoterica but potentially great music - so we get to enjoy it at the same time as it increases our understanding of a great artist - 'Speaking hypothetically, is my understanding of Dolphy inferior for having not heard the Brownie sides? Of course, limited familiarity with an artist's discography impairs knowledge of history, technical development, etc. But--for the neophytes, the laypeople, issues of economy and choice--is it all really the same?' well, I would assume that if you are posting on this site you are not a neophyte. And yes, your (our) understanding of Dolphy is virtually impossible without hearing anything from this middle period. Since CHuck will not enlighten us about those mystery recordings, I will assume that all we have in the early Dolphy discography (and I have done the research) are uncertain big band appearances in the late 1940s and than a skip to 1958 with Chico Hamilton. It's similar to problems with documentation of Lester Young - we have nothing real early, only the first mature playing. So, given the opportunity to not only fill in the historical blanks but also to hear what will likely be great music, I would regard these home recordings as essential.

mrjazzman mrjazzman ariceeffron

"does knowledge of the entire history of an artist--from cradle to grave--really constitute a comprehensive "understanding"? what else would give us comprehensive knowlege? We listen to Mozart, Beethoven, Nancarrow, John Cage, Ellington, Cecil Taylor, Sun Ra etc et through all stages - why not Dolphy?

you're missing the point here - it has nothing to do with the 'in crowd' but with coming to grips with brilliant musical minds like Eric DOlphy's - in 1954 you have a major figure in mid-point, between his earliest playing and his mature, revolutionary work - who wouldn't be interested in such a thing? Why do we listen to the early work of Bird? Of Mingus? Miles Davis? Because it's not only genius in embryo but it's great music at ALL stages of their musical lives. Like early Bud Powell, early Monk, early Louis Armstrong - all of these played brilliantly even before they came to maturity. And it's all absolutely fascinating to listen to.

you got me -

research done - there are recordings in 1948 and 1949 that Dolphy is apparently on, but not identifiable as a soloist - next is 1958 with Chico Hamilton - so something like this from 1954, when he is working toward maturity is, as I've said, absolutely essential -

the only early Dolphy I know of is with the Roy Porter band - what are you referring to?

ok mr jazzman - here are your answers - in order: 1) yes 2) no 3) perhaps 4) not at this time 5) if you say so 6) yes, if both parties consent 7) she told me she was 18

it has nothing to do with being a completist - any musician as important as Dolphy goes through several musical stages - in his case we have virtually no documentation of this period - so it is essential - just like Bird fom 1940-1942 - we need to see what he was doing at a formative stage - it's called natural intellectual criousity

Eric Dolphy was 26 years old in 1954 - a bit past his adolescence - this is EXTREMELY important stuff -

and he was no Betty White -

I like Jessie White as an actor, but he was right wing crazy guy - I once saw him debate Paul Krassner -

just ordered it - I'll know if it's him -

mr jazzman: I would answer your question if I could figure out what the hell it is -

there is no jazz in Southern Maine -

I disagree - Dolphy is such a major figure than any early scrap, no matter how tinny, is valuable -

can there possibly be an Eddie Costa thread without mention of his greatest recordings - the Fuerst and Second Set issued originally on Xanadu, and then later on a french CD? Live in Ed Fuerst's living room, I think, with Costa, Tal Farlow, and bass (was it Vinnie Burke?) - amazing, relaxed, out-of-the-studio Costa. Also, House of Blue Lights is brilliant, fascinating because one hears the effects of the burgeoning free-jazz movement on Costa's playing -

well, I have been offered a place in the Organissimo witness protection program -

Dexter Gordon? Damn, I thought this thread was about Dave Dexter - Dexter Gordon's one of my favorites -

on the other hand...you do remind me of Scott Yanow -

Mr. Jazzman - what is going on here? Some benzadrene in your ovaltine? How can I keep up with your eloquent indictments of my opinions and your perceptive observations - yes, I must be on drugs or something. And don't talk about Art Pepper: I met Art Pepper, I knew Art Pepper - and you, sir, are NO Art Pepper -

actually, I think he meant "that old filling" - Zoot had a lot of dental problems -