romualdo

RIP Lindsay What a shock - didn't realise you were suffering from MS

If anyone is looking for his musical output you can buy it directly (online) from the Australian "Rufus" label - 10CDs in all as leader http://www.rufusrecords.com.au/artists/mcgann.html

The below article was published in the Australian mag "The Monthly" last year CULTURE THE MASTER Happy birthday, Bernie McGann John Clare October, 2012 Medium length read1100 words Illustration by Jeff Fisher. 0 ADVERTISEMENT OCTOBER 2012 'Lore' by Cate Shortland (director) Fenella Souter 'Silent House' by Orhan Pamuk Alexandra Coghlan 'Questions of Travel' by Michelle de Kretser Owen Richardson 'Montebello' by Robert Drewe Catherine Ford REMEMBERING AUSTRALIAN PAINTERS Anecdotes Murray Bail The Best of Australian Arts 2012 The Monthly Brett Whiteley & Billy Connolly Shane Maloney a... ANDREW DOMINIK'S 'KILLING THEM SOFTLY' The games of men Luke Davies MEETING THE MARTU ARTISTS OF THE EAST PILBARA The logic of water Gail Bell CLAUDE DEBUSSY He’s so this century Andrew Ford JEFFREY SMART Smart guy Doug Hall VISITING ORHAN PAMUK’S 'MUSEUM OF INNOCENCE' The novel lives Alexandra Coghlan 1 of 4 ›› Heading west by train out of Sydney, two stops before Parramatta, that railway voice comes crashing through tinny speakers, “Next stop: GrAAAnville!” The ‘A’ is as harsh as garbage being crushed outside your house. The industrial flatlands of Granville, between Sydney and the Blue Mountains, are where Bernie McGann grew up. Who he? McGann – whose 75th birthday was marked this July by two sensational nights at the Sound Lounge in Sydney – is possibly the most original voice in Australian jazz. In recent decades, his reputation has become international. Although he is not a household name anywhere, a number of his fans are – in Australia, America and Europe. McGann stands in relation to his famous fans much as Captain Beefheart did to Frank Zappa. McGann’s ‘voice’ is the alto saxophone, which can be as clear as water, golden as sunshine, or harsh and strange as the cries of certain Australian birds. Often McGann convincingly integrates the whole panoply in the one solo. In person, McGann exudes last-century laconicism and rolls his own cigarettes. The praise heaped on McGann on the nights of his tribute was then received with some diffidence. There were little shrugs in his voice – “Yeah, yeah yeah yeah,” he said rapidly, grimacing slightly. “It was good tonight. The boys played great. Yeah ...” The “boys” were Paul Grabowsky at the piano, Jonathan Zwartz on the double bass and a brilliant young drummer, Tim Firth, who’d told me the experience had been like a glimpse of heaven. Grabowsky stood up from the piano stool, swept his hand around the band and shook his head in admiration. “There he is: the master! Bernie McGann!” McGann’s actual voice is quite soft, his Australian accent light. His face, in contrast, is almost as craggily singular as Klaus Kinski’s, and partly inspired the producer of McGann’s first digital recording to call the disc Ugly Beauty. (It’s also the title of a tune by Thelonious Monk, which is played on the album, but McGann was noticeably peeved. Well, friends noticed. It is doubtful that he would have said anything to the producer, who also owned the independent label.) McGann went to a small brick Catholic school with an asphalt playground. After school, he trained to be a fitter and turner, like his father, while playing the drums in local dance bands. “My father couldn’t believe it when I took up the alto,” he said. “I was already getting paid work on the drums! Not only that, I decided that fitting and turning wasn’t for me the day I finished my apprenticeship.” In the 1970s, McGann lived at Bundeena, on the edge of the Royal National Park, south of Sydney, where he worked as a postman. By that time he was a controversial alto saxophonist on the city’s jazz scene. After his postal rounds he’d practise in the bush, developing the huge sound that would go on to be heard clearly, without amplification, over the loudest, most polyrhythmic drumming of his long-term collaborator, John Pochée. At the height of McGann’s passion, and when no more momentum could be squeezed from orthodox time, he would sometimes slip the tracks and enter a realm where time was susceptible to free manipulation. His whole body would begin to judder and he’d broadcast strange congested barking patterns that seemed beyond rhythmic analysis – except by Pochée, who’d punctuate uncannily. Yells and even screams would rise from the audience. These peaks of excitement have scarcely been equalled in Australian jazz. Something akin to speaking in tongues was in the air. McGann still sometimes goes into this area. Not so loudly now but with great effect nevertheless. Initially, he was accused of imitating ‘free jazz’ pioneer Ornette Coleman. “When I heard him,” McGann told me, “I was surprised that there were some similarities, though I didn’t think I sounded much like him. We were heading in some of the same directions. He is like a backwoodsman, a folk musician. [Whereas] Charlie Parker was the complete hipster. I love them both.” Through the 1970s and ’80s, McGann played his luminous and utterly distinctive compositions with his own piano-less trio – which included bassist Lloyd Swanton, now known internationally as a member of The Necks – as well as with Pochée’s band, The Last Straw. During a spell at The Basement in Sydney, a band of hippies dressed in white would come down from the Blue Mountains to hear them, bringing home-baked bread for the band. One of the most memorable compositions from that era – ‘Mex’ – is on Wending, the Rufus Records release commemorating McGann’s 75th birthday. Curiously, both McGann and Pochée had earlier played in the understated and then-popular ‘cool jazz’ style, which was associated with college-boy haircuts, moleskin trousers and Ivy League shirts. It was thought that mainly young advertising men listened to it. McGann’s big influence (before he’d heard Charlie Parker), was the pellucid sound of Paul Desmond, of Dave Brubeck Quartet fame. The Desmond influence has become more obvious now that McGann plays more softly. Still, even when McGann’s raw power was his most striking trait, there were delicate elements, including needles and whimpers of sound in the highest register. McGann usually plays a little behind the beat, and some of his solos begin with gliding, ruminative tones that seem to turn time momentarily backwards. Musicians and fans at these moments lean forwards, enthralled. The solo might build with revolving patterns that invoke some dervishing folk dance, and when everything is churning and flying, sustained soft high notes might float above it all, and figures and patterns will appear that are purely original. McGann tries not think of anything when he is improvising. “You know, it’s just letting it flow naturally without cluttering your head with too much stuff. It doesn’t always happen, but sometimes you can surprise yourself. If you can surprise yourself that’s a good thing.” John Clare John Clare is a journalist, reviewer and the author of Bodgie Dada, a history of Australian jazz. More by John Clare Published in The Monthly, October 2012, No. 83

RIP Bernie from here in Australia

Just realised that I actually have "Disposability" as a standalone CD (no label but catalogue # as KCD 002) I've listened to the first four titles three or four times now & the popping/flutter/clipping is not evident but on track #4 (Tune 2) there appears to be tapping/percussion throughout the performance (not associated with the drumming) - at approx 5:34 it becomes very prominent & sounds like a conga? or is it SL tapping his horn - this doesn't sound like distortion & appears to be part of the original recording Anyone else care to listen & comment

Jeff thanks for your comments - I think I'll hold off on this release even though I'm a big SL fan

I've noticed on the Contemporary Manne CD "Steps To The Desert" (contains the LP "My Son, The Jazz Drummer) four "single edits" of titles from the LP "Zamar Nodad", "Exodus", "Tzena" & "Hava Nagilah" Were these actually released as singles - can't find any trace on discographies or searching on ebay etc

RIP Fred nice innings @ 94

Albums on the set: Clifford Jordan’s In The World and Glass Bead Game, Cecil Payne’sZodiac, Charles Brackeen’s Rhythm X, Wilbur Ware’s Super Bass, Pharoah Sanders’ Izipho Zam, and Ed Blackwell’s Shades of Edward Blackwell (with Don Cherry and Wilbur Ware, previously unreleased). Oh Yeah!! sounds great - I'll definitely be in for this

was referring to the musical content rather than the SQ

Avid have just released a Tony Scott double containing the 3 LPs (has this already been mentioned?) 52nd St Scene Tony Scott In HiFi The Touch Of Tony Scott I'm a bit wary of the Avid releases but still have picked up a few of them (Anita O'day, Johnny Hodges, Al Cohn/Zoot Sims, Milt Jackson) Any comments on these recordings? (mid to late 50's RCA's & Corals) Don't have much 50's Scott - there isn't much around - that's when I usually go for the Avids - tempted with this one Wish Mosaic would have attempted a Select of his RCA material.

Had his LP "Penguin Eggs" for quite a few years - brilliant stuff The photo on the left is the actual cover to the LP

I have two spare plastic trays - one for 2 Cds (double) & one for three Cds (single) The two space double one may be of use to you but it's shipping from Australia Sorry, no 4 singles

It'll be spring here in Brisbane & I'll be green with envy - what a feast Tempted to fly over

for me the "dark horse" of the label is the Dick Wetmore 10" - a wonderful quartet session (Wetmore vln, Ray Santisi p, Bill Nordstrom b, Jimmy Zitano b) consisting of Bob Zieff compositions/arrangements (he was actively involved) Dick Twardzik was supposed to have played on this session (he was present at Wetmore's rehearsals) but it didn't transpire - Jack Chambers discusses this LP in his book on DT Luckily I have a burn from a 10" - listening to this & then Chet Baker's versions of the same titles is a revelation Don't think this has ever had an official CD or 12" LP release - if you have any interest in Bob Zieff, this is essential IMHO I do hope they release this one

Relaunch of Iconic 1950’s Jazz Catalog, Bethlehem Records, Announced by Verse Music Group & Naxos of America Classic Albums will be Restored & Remastered for CD, Digital and 10” & 12” Vinyl Release First Reissue Sets Debuts August, 27, 2013 Verse Music Group & Naxos of America are happy to announce the reissue of iconic 1950’s Jazz catalog, Bethlehem Records. Bethlehem Records’ lengthy discography contains over 250 albums that freshly and ambitiously captured an era of music, including West Coast Cool Jazz and East Coast Bop. Bethlehem Records roster of artists includes Nina Simone, Carmen McRae, Chris Connor, Mel Torme, Dexter Gordon, Charles Mingus, Art Blakey, and Duke Ellington. For some of these legendary artists, the Bethlehem recordings represent their classic debuts, and still for others, their greatest recorded work to date. Each track has been restored from the original analog sound recording & digitally remastered to meet the highest level of clarity and quality standards. For the first time in decades, each of the titles will be available in their original configuration in LP vinyl, CD and digital formats. Titles slated for an August 27th, 2013 release include Oscar Pettiford "Modern Quintet," Chris Connor "Chris Connor Sings Lullaby’s For Lovers," Dexter Gordon "Daddy Plays The Horn," Charles Mingus "The Jazz Experiments of Charles Mingus," Nina Simone "Little Girl Blue," and Booker Ervin "The Book Cooks.” Bethlehem Records progressive cover art truly revolutionized the jazz market. Each release includes fully restored, original artwork and liner notes. In support of the relaunch, limited edition apparel, vinyl bundles and pre-sales will be available at select retailers and the Bethlehem Records webstore Facebook tab in an exclusive partnership with leading international merchandise & licensing company, Backstreet Merch. Follow Bethlehem Jazz on Instagram here for the latest Burt Goldblatt inspired T-Shirt designs and join the Jazz Exclusives community here.. Twenty select titles will be exclusively available in the Bethlehem Records iTunes store at 8/27 launch including: • Art Blakey –“Art Blakey Big Band” • Bobby Scott – “Great Scott” • Booker Ervin – “The Book Cooks” • Booker Little – “Booker Little and Friend” • Charles Mingus – “The Jazz Experiments of Charles Mingus” • Chris Connor – “Sings Lullabys For Lovers” • Donald Byrd & Pepper Adams – “Motor City Scene” • Dexter Gordon – “Daddy Plays The Horn” • Mel Torme & Frances Faye – George Gershwin’s “Porgy and Bess” • Howard McGhee – “Dusty Blue” • John Coltrane – “In The Winners Circle” • Johnny Hartman – “Songs From The Heart” • Mel Torme – “Songs For Any Taste” • Nina Simone – “Nina Simone And Her Friends” • Nina Simone – “Little Girl Blue” • Oscar Pettiford – “Modern Quintet” • Paula Castle – “Lost Love” • Sam Most – “Sam Most Plays Bird, Bud, Monk and Miles” • Stan Levy – “Grand Stan” • Zoot Sims – “Down Home” Releases that will be part of the 12-month relaunch in LP, CD and Digital format include: August 27, 2013 BCP 1003: Oscar Pettiford – “Modern Quintet” (CD & 10”) BCP 1002: Chris Connor – “Sings Lullabys For Lovers” (CD & 10”) BCP 36: Dexter Gordon – “Daddy Plays The Horn” (CD & 12”) BCP 65: Charles Mingus – “The Jazz Experiments” (CD & 12”) BCP 6028: Nina Simone – “Little Girl Blue” (CD & 12”) BCP 6048: Booker Ervin – “The Book Cooks” (CD & 12”) October 29, 2013 BCP 6051: Zoot Sims – “Down Home” (CD & 12”) BCP 6056: Donald Byrd & Pepper Adams – “Motor City Scene” (CD & 12”) BCP 1030: Bobby Troup – “The Songs of Bobby Troup” (CD & 10”) January 29, 2014 BCP 1027: Helen Carr – “Down In The Depths Of The 90th Floor” (CD & 10”) BCP 43: Johnny Hartman – “Songs From The Heart” (CD & 12”) BCP 6040: Mel Torme & Frances Faye – George Gershwin’s “Porgy and Bess” (CD & 12”) BCP 6041: Nina Simone – “Nina Simone and Her Friends” (CD & 12”) March 26, 2014 BCP 6045: Mal Waldron – “Left Alone” (CD & 12”) BCP 6055: Howard McGhee – “Dusty Blue” (CD & 12”) BCP 6061: Booker Little – “Booker Little and Friend” (CD & 12”) May 28, 2014 BCP 71: Stan Levey – “Grand Stan” (CD & 10”) BCP 6064: Roland Kirk – “Third Dimension” (CD & 12”) BCP 6031: Mel Torme – “Songs For Any Taste” (CD & 12”) July 29, 2014 BCP 1004: Bobby Scott – “Great Scott” (CD & 10”) BCP 6069: Eddie Davis – “The Best of Eddie Lockjaw Davis” (CD & 12”) BCP 6024: John Coltrane – “In The Winners Circle” (CD & 12”) BCP 6027: Art Blakey – “Art Blakey Big Band” (CD & 12”) BCP 1010: Vinnie Burke – “East Coast Jazz 2” (CD & 10”) BCP 1036: Paula Castle – “Lost Love” (CD & 10”) About Bethlehem Records: Formed by Gus Wildi in the 1950s, Bethlehem Records includes an impressive roster of artists such as Nina Simone, Carmen McRae, Chris Connor, Mel Torme, Dexter Gordon, Charles Mingus, Art Blakey, and Duke Ellington. Bethlehem Records’ legacy is a lengthy discography that freshly and ambitiously captures and preserves an era of truly great music, including West Coast Cool Jazz and East Coast Bop. For more information about releases and merchandise visit the Bethlehem Records website here. About Verse Music Group: Verse Music Group is a global entertainment company based in New York City founded by award-winning music industry veterans Curt Frasca and Sabelle Breer in 2010. Verse Music Group owns over 50,000 copyrights through the acquisition of iconic brands and music catalogs such as, Salsoul Records, West End Records, Bethlehem Records and Golden Records and featured songs by artists Rod Stewart, Nina Simone, Jennifer Lopez, John 5, Avril Lavigne, Commodores, Tupac, and Celine Dion among many others. Read more about Verse Music Group here. About Naxos of America: Naxos, the world’s leading classical music label is known for recording exciting new repertoire with exceptional talent. The label has one of the largest and fastest growing catalogues of unduplicated repertoire available anywhere with state-of-the-art sound and consumer-friendly prices. The catalogue includes classical music CDs and DVDs as well other genres such as jazz, new age, educational and audiobooks. Visit the Naxos of America website here.

oh yeah, count me in

It's a Lars Gullin LP discography - pics of all the LP's he played on http://www.digmusic.se/LarsGullin.KlassiskaSkivomslag.html

I bought this CD (along with a few other Gullin items & the great Norman Howard tribute LP from the anagram website in 2010) - pity the website has shut down - is David Reid still contactable? I can help with two of the titles, "Ablution" & "Detour Ahead The MOMA concert (Moderna Museet, Stockholm) was recorded on March 30, 1964 - originally released on Sonet LP 2659 (see below) The extract below is slightly wrong - "Ablution" & "Detour Ahead" are on Anagram CD 7 (not "You Stepped Out Of A Dream") http://gullin.blogspot.com.au/search?updated-min=2007-01-01T00:00:00%2B01:00&updated-max=2008-01-01T00:00:00%2B01:00&max-results=15 The forgotten tapes Only parts of the 1964 concert at the Museum of Modern Art (Moderna museet) were published on Sonet. Now Jan Olsson reports that he has rediscovered the remaining materal, including You Stepped out of a Dream, Ablution, Detour Ahead and Fascinating Rhythm. The first two have been issued on Anagram CD7. But Detour Ahead is played by Rolf Billberg alone with the rhythm section and strings. Nu Gullin present, so strike b from session 64-02. Lars Gullin with Strings Lars Gullin var tillbaka i Stockholm i början på 1964. Rolf Billberg hade också återvänt och de började spela alltmer tillsammans. I februari spelar de med en gemensam kvintett två veckor på Gyllene Cirkeln, varifrån några låtar finns utgivna på CD av Anagram. Gullin träffar också producenten Gunnar Lindqvist på EMI som vill ge ut en LP med delvis nytt material som Gullin skrivit i Köpenhamn. Materialet, bl.a kompositionen Portrait of my Pals, framförs först vid en konsert påsken 1964 på Moderna Museet som arrangerades av musikerorganisationen Emanon. Lars Gullin och Rolf Billberg är huvudsolister och de backas upp av stråkar och en grupp jazzmusiker. Konserten spelades in men gavs inte ut på skiva förrän 1980, på den här LPn på Sonet. Den är producerad av Keith Knox. Omslagsfotot har tagits av Nils Edström.

Reckless Records has a "near mint" copy of the Getz 53-54 Clef/Norgran Mosaic (4LP) set for $69.99 http://www.reckless.com/index.php?keywords=getz+mosaic&format=&cond=&store=&is_search=true&srch=Search

Thanks for the info on sourcing EP's Western Front -> was hoping Honest Jon's (UK) carried it -> have bought vinyl from them before Just looked at my PSI acquisitions - have almost half of the 84 releases (there are probably 4 or 5 more I'd like to get) Need to get a few more Lol Coxhill & Paul Rutherford releases The price has been dropped to 7 pounds for quite a few of the PSI & Emanem single discs

has anyone mentioned Coltrane "Side Steps" for $16.03 http://www.amazon.com/s/ref=nb_sb_noss_2?url=search-alias%3Dpopular&field-keywords=coltrane+side+steps

Did the same with a disc from one of the recent Ellington sets a couple of years ago - there's a real art to getting those discs out (unbelievably tight) in some of the boxes

Anyone suggest where I can obtain the EP LP Western Front without paying big sums for shipping Last night I tried to order directly from the Western Front Website -> $ Can20 -> thought that was reasonable but then I was hit with a $40 shipping fee (luckily I was able to cancel my order) I just wish they would have produced a digital version (CD) - you do get a code to obtain a digital download if you buy the LP but I don't really want to spend $60 on an LP

Many thanks - was only looking through that very book yesterday for anything on Max Roach (the Giuffre article was originally sourced from the Jan 62 FM/Stereo Guide)