Ted O'Reilly

1)Myer's Rum 2) Vitamin C, no alcohol 3) ZICAM (of which I've never heard before but will look for) I'm leaning towards 1), but the Vicks Vaporub might affect the enticing aroma. My nose is sure I'm up to #100 grit Kleenex today.

Well, I almost got through the winter without a cold, but one's coming on... I wonder, what do you add to your Neo-Citran, gin or vodka?

take 5, reading your original post, I didn't know just what it was you meant when you said "comp". Generally, in jazz, I've found when that word is used it's in the context of playing aCOMPaniment. ("Hey, doesn't Tommy Flanagan comp good!?!") I now think your meaning is COMPilation, as in a disc... Is that right?

And what do you think that story might be, Nate? Something 'content-oriented', perhaps? Jeff's passing is a sad loss for his family, friends and fans. And losing his knowledge is like watching a library burn down.

But, but, but, I STILL don't know where "here" is for danasgoodstuff...

Right you are, Bill. On "Snappy Doo" he played all the parts (save gtr/bss/dms) of a big band, and wrote the arrangements. The rhythm section was Herb Ellis, Ray Brown and Jeff Hamilton. Morrison was even hip enough to play different horns within a section, so there would be tonal differences. Would his main instrument be trumpet, or does it really matter? (For me, Scott Robinson's C-melody work is a favourite. "Melody From The Sky" on Arbors always puts a smile on my face.)

Where is "here"? Are you wanting to buy at a shop, or online, or....?

Toronto's Don Thompson is equally fine on bass, piano, vibes and drums. He used to play trumpet (a la Clifford Brown), and I've been told he picked up trombone in a couple of lessons, but never played it in a band. I don't know if he ever played reeds, but no doubt would master them, too. In addition, he is a fabulous composer and arranger, a great teacher and talented recording engineer. AND more important than any of that, a great guy. Just picked up a Scott Robinson CD today on which he shows his great musical taste by playing the compositions of Thad Jones. On this release, he plays C-Flute, C-Melody sax, F-Mezzo-Soprano Sax, Tenor Sax, Bass Saxophone, Eb-soprano Flute, Contrabass Sarrusophone, Alto Clarinet, Echo Cornet (new to me--looks like it has a second, smaller bell), French Horn, Flugelhorn, Theremin, and (just for fun) thundersheet and bell. The CD's annotator is Rufus Reid, who says "The amazing thing is he convinces you that each one is entirely his main instrument". (A bonus on the album is Richard Wyands on 9 of the 14 tracks).

Wm. F. Buckley? Oh, yeah -- the guy who wrote the liner notes for "Dick Wellstood and his All Star Orchestra Featuring Kenny Davern" (Chiaroscuro CR 129). Danasgoodstuff: do you think many folks on organissimo know who Dief the Chief is?

Clark Terry is still alive. Illinois Jacquet was at the time of the question, although not anymore, alas. Also, is Snooky Young still live? Depending on what you call the Old Testament Band (does it continue through to 1949 and the RCA Victor recordings? I've heard some claim OT didn't really survive WW2) Clark Terry was in the OT band. He joined in the latter half of 1948, and stayed with Basie in the Octet after the big band was folded. Was with him still when the band reformed, then went to Ellington in late '51. (He once told me that Duke offered him the job, but Clark didn't want Basie to think he wanted to jump, so he left Basie for "family reasons", spent a while off the road, then went to Ellington). CT is 87 now. Snooky had his 89th birthday on Feb. 3, and I think is still playing (with Clayton/Hamilton?). He was in-and-out of Basie's band (the first stint from early 1943) for a total of about 8 years service.

I'm pretty sure I have that Maria Schneider release, whether on LP or CD, so I went looking for it, and was surprised at the number of "Sch...." artists I have on the shelves: Schaefer, Hal Schaphorst, Ken Schifrin, Lalo Schloz, Karl Schlüter, Wolfgang Schneider, Helen Schneider, Maria Schnitter, David Schoenberg, Loren Schoenecker, Joachim Schoof, Manfred Schuur, Diane Schwager, Reg and maybe a few others still in boxes here and there around the house.... I'll have to scheme or work out a schedule (saving enough time to use a Schick) to hear all these things again, now that I've schlepped them to this table. I hope there's not too much schlock or schmaltz among them, or some schmo or schlemiel on this site (which I hope has few schmucks) will start schismatic arguments among jazz scholars of various schools, or hijack the topic to the proper use of the schwa, or the best way to rig a schooner, or how their schnauser is the best dog.

Is the as/cl player "Paul Gonsalves" noted in the Calcutta sessions post-c. May 1943 the same Paul Gonsalves of later Basie/Ellington fame? (Lord discography indicates it is). I know he did military service in WW2 -- was he in India, doing some playing on the side? And does anyone know if Paul was related to the bassist on these sessions, Tony Gonsalves?

I know nothing about Fogelberg, but I know that ain't Liza, that's Julia Louis Dreyfus.

Will this have all the 'vinyl' collectors chasing after something new? Will there be discussions as to whether the mono or stereo x-rays have better sound?? Will we have audio proof that "The Knee Bone's Connected To The Thigh Bone"???

I think (to be brief) that the main difference between a trumpet and a flugelhorn/cornet is the bore: the tube has parallel walls all the way through the trumpet, until the bell. On the flug/cornet, the tube is a cone, ever-expanding from the mouthpiece on... Trumpets and trombones are straight-bore (can't imagine a cone-bore trombone -- would be hard to slide!). Tubas are cone-bore, so you could think of the cornet as a soprano tuba, I suppose. The air (sound) moving through the trumpet is more direct, while the air (sound) in the cone-bore is softening as it makes its way through the instrument. (Braxton plays contrabass clarinet a member of the woodwind family. Contrabass is a member of the violin family.)

Do you really think that time speaks English in the men's room?

Whoops! McGill University is in Montreal, not Toronto, Randy. Has been there since 1821, though Fern's in Toronto, and of much more recent vintage. Fern's someone I've known from music, not Scrabble. She's a more than competent pianist and a singer with a lovely warm and intimate voice. Nothing revolutionary, but a deep understanding of lyrics and words, as you might expect of a Scrabble champ. And she sings in tune! Her accompanists on the new release are top rank: Don Thompson as you note is best-known, but probably on bass or piano rather than vibes (which I think he loves to play more than any other of his many axes). Reg Schwager is a fabulous guitarist, the successor to Ed Bickert 'round these parts, and believe me: that's saying a LOT. He's been George Shearing's choice in the last decade. Bassist George Koller is a free spirit and free thinker who always brings a fresh look at the material. These three often work with Ms. Lindzon, so there's an ease and comfort level to the performances. I've been enjoying Fern's CD for the last couple of weeks, and I'm glad to see someone else appreciates it. (And she's anything but a spammer: quite modest, but fine talent!) (BTW your use of Q so frequently -- three "quites" -- earns 25 bonus points).

I'm no expert, value or otherwise, but there's a new factory sealed copy over at amazon marketplace for $729.99 here. Notice, there's also a used for $1,37481, so .... ??? Thanks. I'll open mine, play it a few times, wreck the booklet, and put it up for sale...in Canadian dollars.

I'd guess he's about 5'10", or 1.78m (it IS in Paris). Now you know the height of stupidity.

"I heard Elvis Costello say it was akin to having the entire works of Shakespeare on your shelf." Hmmm. Mr. Costello is an Ellington authority, as well as a Shakespeare maven, is he? I've been listening to the Jazz Track 933 (not Jazz Beat) "A Drum Is A Woman" over the weekend -- they've done a good job on it. And whatever its provenance, Jazz Track warns one and all that THEIR production is NOT to be copied. (Value experts: what would a sealed, never-opened copy of the RCA Victor Ellington Centennial box be worth?)

Oh, by the way -- LOVE the flipped negative of the cover shot, which shows both Terry and Brookmeyer as lefties.... But then, the Mainstream/Legacy CD I have uses a different picture, and it too is flipped! Maybe the photographer uses a mirror.

These all come from three Mainstream LPs from the mid-'60s, and depending on what you call "reissued", they all were "reissued" legally, when they came out on CD in the early '90s I think. (I have the middle one, The Power Of Positive Swinging as Mainstream/Legacy JK 57117 and see a sticker on it as Best Value, so it was even budget priced). I didn't get the other CDs when they were released around the world on various labels such as Red Lion, Fontana and Mainstream US & Japan (had 'em on LP), so I picked up the Lonehill a couple of years ago. Comparing the original Legacy CD with the Lonehill, the sound quality is the same, so guess where Lonehill got it. There's a Lonehill discographical error on one of the sessions: on disc two, tracks 5-13 (the Gingerbread Man LP, the pianist is Hank Jones, not Roger Kellaway, who is on all the others. (This package was released in 2005 -- how has it taken so long to be discussed?)

I've always been impressed that the band was able to play so well on this particular album: note the recording dates... Recorded at A & R Studios, New York, November 20, 22 & 23, 1963 They were in the studio for the second session when word came that John Kennedy had been killed. I think they must have taken a break, continued, then came back to finish the next day. Given the gloom that descended on your country, no one must have felt much like playing...

But somebody knows the story and who the mystery pianist is (I'll admit I'm grasping at straws), and they're not saying (unfortunately). Probably if it got out who the mystery pianist is, it would cost Storyville some $$$$. Yes, somebody DOES know, though I'd guess they'll not own up to it. I have "My Man In Switzerland" working on it, so mayhaps he'll come up with something. I think the answer is there, not in Sweden. I don't care about the money involved, I just want the pianist's name revealed, and solve the mystery, Dr. Watson. As to $$$$ being involved, I'd bet it's only in the range of $1000. Most people who have never been involved with jazz production or presentation have no idea of the small amounts of money involved. Other than a few people (Hancock, Krall, Shorter), the huge numbers that The Music Industry tosses around (or USED to talk about) have absolutely nothing to do with jazz. I'd guess that Storyville would consider selling 3000 to 4000 discs to be a major success on most titles. In a curious way, jazz artists haven't been too badly affected by the whole download thing, because their numbers are too small for anyone to bother to rip off. (And the artists are used to getting by with very little in the first place). Indeed, jazz could benefit because of the improved distribution: on the internet, a small operation can have as big a presence as the majors.

Nah, it's not Ralph. Doesn't have his drive. And it sure ain't Flanagan. (I'll stick with "obviously"). I recorded both Tommy and Ralph playing solo piano (and in band settings) enough over the years to guarantee that. Also, remember that Storyville only released (then recalled) the material, didn't produce it. The tapes originated in Switzerland, so I think it unlikely that Storyville would have added tracks. I listened again to track 20, John, ("All The Things You Are") and will concede it is slightly possible that it could be Tommy, but I'm still not convinced.