Ted O'Reilly

Wasn't it 70 years ago today?

"Break in a cartridge"? Hogwash. In 60+ years of listening to flat records on every sort of record player/turntable from my first childish windup through 50 years of radio, I've never heard anyone, any engineer even suggest such a thing. Just use it properly, and change the stylus when needed.

As Chris notes, the series has great footage. The money allowed Burns to search for originals and 'best copies' and I appreciate that aspect. What I would love is to have the Burns Organization now make available the complete interviews that had been done for the series. It's a shame that only a minute or so of great jazz contributors like Benny Carter is included. Since they must have spent hours taping them, that talk and insight should now be available to everyone. I'd say that likely won't happen "Officially", because the unused material might undermine the premise of the series. (Is there a real jazz fan in the Burns Organization with access to the company's archives?) Having interviewed Benny Carter (and many others over the years), I know there's a lot more to the discussion and history of jazz than Burns used. We should have access to it.

Right you are! Thanks for the correction. And by the way, having listened to it several times now, I stand by the first impression: it's a very good release. Perhaps not essential (pace, NKC fans) but very enjoyable, and the kind of document I love to see made available. Interesting that the cover shown on the Amazon site is not the one on the disc. Hep advises that it was a mockup, and was changed because the photo was changed...

It must be a second marriage, and second child... Wasn't Geoff married to a Japanese woman (and had a daughter) a few years back?

Hey, thanks! I recorded that session. You might also like another one I recorded for radio originally: "Trio" (Sackville SKCD2-2039) that has Keezer with Steve Nelson on vibes, and Neil Swainson on bass. (Montreal Bistro, Toronto, 1993/11/17) Geoff is an amazing musician, and a very bright man...he has deep understanding of what he's doing, on all levels.

Someone mentioned Henry Cuesta earlier. A long-time Toronto resident, he was probably most widely known for his work with Lawrence Welk, but Cuesta was a fine jazz clarinetist and baritone sax player. And he was a cousin of the Caceres family. Just to toss in a Canadian y'all should know, find out more about Phil Nimmons -- 87 years old now, and still going strong. These days he plays only completely freely improvised music with a brilliant young pianist, David Braid.

I like his early stuff. The worst disc in that box is the "Bird" soundtrack, because of how it was made (Bird solos overdubbed with new band). Good idea for the movie soundtrack, useless as a CD. I understand your point about the "Bird" soundtrack, but, it's still something of a guilty pleasure. I shouldn't like it, but...

Amy plays a fabulous tenor solo on Onzy Matthews' recording of Satin Doll, making it the only palatable version other than the original version by Duke. (Surely that tune is the least-good Strayhorn composition, further marred by weak lyrics for the vocal versions). Amy's lovely soprano is featured on I Should Care. Both were originally on "Blues With A Touch of Elegance" (Capitol), available now on Mosaic Select MS-029.

No "strings" involved. Muppets aren't marionettes. Other than that, probably Lew Grade.

I wouldn't try any instrument that has to change shape and size in order to make it work.

Does this not exist any longer? I didn't listen to it when first on offer (it was irritatingly off speed), and now I can't find it... Chris

There was a childish joke: "What happens when a bee bites you, then a mosquito bites you inthe same spot? "Sting Along With Itch!" http://ca.news.yahoo.com/s/capress/100802/entertainment/us_obit_miller

Chris, doesn't this sound as if it's running too fast? The voices seem higher-pitched than I remember them. (Duke's at least -- never talked to Strayhorn).

Just had a first-time listen to the NKC Carnegie Hall concert. There's an interesting mix of material--vocal and instrumental--with good sound dug out of old grooves by Herb Pomeroy. It was a fairly new version of the group, still with Joe Comfort on bass, but now with Irving Ashby replacing Oscar Moore on guitar. It was no longer "The Nat 'King' Cole Trio", but "Nat 'King' Cole and his Trio", with the addition of Jack Costanzo on (ugh) bongos. On first hearing, I'd call it an excellent release, even allowing for my personal bugagoo: bongo drums. Don't like 'em, especially on swing-based music -- too static, too abrupt a feeling. Not as offensive if used beside a regular drum set, but please, not on their own... I'll listen again tomorrow, see how my first impressions hold up.

http://www.jazzwisemagazine.com/component/content/article/67-2010/11519-jazz-breaking-news-martin-drew-has-died

I am very bad at dates, so I'm not sure, but Rob McConnell and the Boss Brass played at the Playboy Jazz Festival one year, and Miles played later. I used to travel with the band as sorta sound consultant/road manager and was busy that day, but I do remember meeting Miles backstage. (And Bill Cosby, too). I wouldn't say RMBB "opened for" Miles because it was a day-long thing, one act following another. Might Spyro Gyra, or Yellowjackets been there too? There was some very loud band on the front of the rotating stage, making it very difficult for the piano tuner to work on the back half, where the Boss Brass were setting up.

Mulligan was a very good clarinet player, and if you think of clarinet as a "dixieland" horn... (Of course, there are those who think Pee Wee Russell was a "dixieland" player). Kenny Davern was playing at a Barrelhouse session at the Bern Jazz Festival some years back, and Mulligan was there digging it all. Off-stage, Davern asked Mujlligan if he wanted to sit in, but he demurred, being hornless. But Gerry started talking about clarinet, with Mulligan saying he was using it to keep his chops up without bothering neighbours with the louder baritone.

But, if you didn't have the Hammond Five, you couldn't have the "Upright Organ Blues"!

* Spelling Remained A Challenge Til The End Maybe it should be "Sometimes Excedrin Expected". Would that be "Etched a Stretch"?

That's "Conniff Meets Butterfield"... Really good trumpet work with just a rhythm section; for the most part, and great tunes. I think I learned a whole bunch of great standards and not-so-standards, by listening to Ray Conniff's earliest (mid-50s) albums like S'Wonderful / S'Marvellous / S'Awful Nice, etc. He started doing covers of current pop stuff in the '60s, but the earlier LPs were very good orchestra albums, an extension of the big band era. In fact, Billy Butterfield was usually his lead trumpeter, and his drummer was usually Osie Johnson! Don't knock Conniff in front of me...grrrrr

Here's what's going to be on my tombstone: "I hate to leave while the music's playing". Or maybe, "He adapted easily to improved conditions". Have you thought about what'll be on yours?

It does seem that's about the average any more, but it feels pretty long if they only play four or five tunes in that time. I often feel like leaving then, because too frequently there's about a 45-60 minute break, and I may not want to catch another 75 minute set, putting me over well over 3 hours in the club. I don't like walking out during the set.

I got a David Foster Wallace for a CD review. Then, for some album liner notes I wrote, I got a Nabokov! But I couldn't trick it: putting in the CD review again, I returned to my David Foster Wallace style. I'm going to have to read something by him, to find where my approach comes from...

Sent via Paypal -- fee's not too much. Maybe 1%, say .25 on $25?