BillF

The Terry Gibbs Dream Band was indeed a dream band.

Biggles Little Richard Tiny Tim

Harry Coe Murder Inc The Ink Spots

Admiral Cornwallis Wallace Roney Wayne Rooney

Ken Colyer Orlando Figes My Monday Date Ruby Tuesday Ruby Dee Papa De Da Da Idi Amin Dada Tracey Emin Eminem

Ken Colyer Orlando Figes My Monday Date

Noah Webster Lex Humphries Humphrey Lyttelton

Bought this one from Greg at last night's gig:

Last night at Wilmslow: visiting American altoist Greg Abate with British mainstream trumpet stalwart Bruce Adams. Great session - these two hit it off far better than I'd expected and a backing trio of the most talented and appropriate locals worked up a hell of a swing. Greg told me there's an album coming out on which he plays baritone with Gary Smulyan recorded two years ago "live in New York on the Hudson". I guess it must be this session:

The Golden Ass Arsenio Rodriguez Chris Botti

All sorts of tricks now possible! (Always suspect someone who writes in green ink.)

Steve Kuhn Charlie Kunz Kunt and the Gang

Great first line - 'I'm in a phone booth, baby, and your number's written up on the wall' Does that mean the same thing in the US as over here - prossies put their numbers in phone booths, advertising 'French lessons'? MG Reminds me of a tongue-in-cheek take on that seen in a Dobell's listening booth round 1960. Under the various claims like "Harold Land - fastest tenor in the West" someone had added something like "Norma Bloggins - greatest white entertainer" with a north London suburban phone number. The same wall also carried the allegation: "Roland Kirk has three mouths".

Happy Birthday! :party:

Henry Hall O Henry Henry The Horse Neddy Seagoon Dick Oatts Lillian Fuchs

Geoffrey Smith's Jazz on Rollins. Nice to hear that 1951 track with Kenny Drew and Art Blakey - a new one on me which should be added to my collection.

Kathy Stobart Eddie Stobart Laurie Pepper Walter De La Mare Silvester Stallone G G Hall

Jazz Record Requests on BBC Radio 3

Mums Mobley The Lavender Hill Mob The Fragrant Mrs Archer

Good JazzWax post on Ted Curson this morning: http://www.jazzwax.com/

There were two recording bans: http://en.wikipedia.org/wiki/American_Federation_of_Musicians

Wasn't that one analysed as a work of genius by André Hodeir in Jazz: Its Evolution and Essence? I didn't think so, and a quick thumb through the book suggests not. I did find this passage, which surprised me: The year 1947, which was fertile in such masterpieces as DON'T BLAME ME, SCRAPPLE FROM THE APPLE, PARKER'S MOOD, and the two versions of EMBRACEABLE YOU, was unhappily followed by a break in Parker's production. Did these fine records sell badly? It may be. Was he really unaware of the U.S. recording ban? (And I edited my original post to put in a missing word.) Well, you certainly know the book - I must concede that, Jeff: http://www.goodreads.com/review/show/230414061 So where did I read that analysis of "Embraceable", with a transcription of part of the solo printed on the page and the solo described in rather flowery language: "The sun comes out from behind the clouds" - that sort of thing?

Wasn't that one analysed as a work of genius by André Hodeir in Jazz: Its Evolution and Essence?

Lester Young's version of "These Foolish Things", recorded in December 1945 in Los Angeles for Aladdin Records, with Dodo Marmarosa on piano, Red Callender on bass and Henry 'Tucker' Green on drums.