bertrand

Although I was being tongue in cheek about bringing up the mythical Algerian war movie soundtrack (I do remember we discussed it back then and determined that we didn't know what Hank was talking about), this is bringing up some interesting questions. I can't remember how far we went in our previous discussions (are there still BNBB archives we can access), but here's some thoughts on the matter: 1) 'He said Blue Note was very good at documenting their recording sessions'. I believe this to be true in the Alfred Lion years, but how about the later years? In the 70s, George Butler and co. did not have access to the session logs. For example, the liner notes to the mid-70s first-time release of Moto Grosso Feio clearly show this, since they had to hunt for a tape and they got the date wrong (Wayne got it mixed up with Odyssey Of Iska). When Michael finally did hook up with Alfred, he got the session logs. But wouldn't Alfred's logs have stopped after he left BN in the summer of 1967? Are there logs that are as detailed after that time period? 2) If the logs from the post-Lion years are less complete, then perhaps this mythical Mobley session was recorded for BN and not properly documented. 3) I doubt he was talking about Thinking Of Home, since he mentions Freddie Hubbard and not Woody Shaw (unless Freddie was using the pseudonym 'Woody Shaw' again). Also, TOH is neither a soundtrack or about the Algerian war (I always assumed 'Justine' was a tribute to the Marquis de Sade). 4) Alternatively, Mobley recorded this for a small label that did not document their sessions, although I can't think of which label that would be. Did he have an exclusive contract with BN? Would that have stopped him? When I first found a bunch of unrecorded Lee Morgan tunes years ago, my first thought was that there might be unissued sessions for a label other than BN made on the sly in violation of his BN contract. I have since found out that some of these were part of the live repertoire (which may explain why he copyrighted them), but it does not exclude the possibility of an unknown record date for a tiny label lost to history. This brings up a general question: how do we know any discography is ever complete (I'm only talking about legit recordings, not private tapes). All discographers are limited by the information that was kept by the record labels and the memory of the actual musicians, which is often faulty. Now time to hunt for the mythical small label that no one knows about that Hank and Lee recorded for when they needed bread between two Blue Note sessions Bertrand.

Chewy has your phone number???????

I remember about 20 years ago in France, some smart dude was caught spying for the Russians. He did out of love for some Russian chick. She looked like Grendel. Some brilliant and/or well-respected people just lose it sometimes, regardless of whether thier life was in a downward spiral or not. Philosopher Louis Althusser strangled his wife in 1980. And how about Jean Harris and Herman Tarnower? I don't think she was binging on coke before she offed him. It was a 'crime of passion'. Bertrand.

Do you have the French movie soundtrack he claims to have recorded for Blue Note? If not, you still have some hunting to do. Bertrand.

Stefan, Sorry about the truck, but good news about the Camry. Did you go to Rockville - I assume you went yesterday, based on the time of your post. Coincidentally, I just sold my Camry to the Carmax in Rockville this afternoon! Plan on buying a Civic tomorrow. Bertrand.

Is the US CD OOP? It does contain EVERY take that was on the Japanese issues, correct? Some beautiful music indeed. Sonny has aspecial place in my heart. Bertrand.

A true Mobley fan collects all the shit now and worries about listening to it later, say in his retirement Bertrand.

We should make sure we are talking about the same tune, by the way. There's a 'Theme' on at least one Miles Prestige record, which is like a complete 5-minute tune. The 'Theme' that Blakey plays under Pee-Wee Marquette (did that guy ever shut up?) is not necessarily the same thing, nor is it the same as the 'Theme' Miles would use in the 60s. It might be helpful to post some recording references to try to distinguish these (I don't have my iTunes folder handy). I think the copyright deposit may be a lengthier thing, parts of which are not played as part of the set-closer. Bertrand.

A few comments: 1) '52nd Street Theme' credited to Monk (and never recorded by him) is a completely different composition than the set-closer 'The Theme'. 2) 'at aaj iirc they have a thread where it says that you are not supposed to discuss this question there anymore' Rules like these are why I only post on organissimo. 3) The other Vinson tune is 'Tune Up'. Max Roach identifies it as a Vinson tune in the spoken intro on the Newport set with Booker Little (see Mosaic Box). 4) 'Of course, we may be making a mistake by assuming that anyone 'wrote' 'The Theme'. We are, after all, talking about a riff tune based on the 'I Got Rhythm' changes.' You are absolutely correct. That was my point - KD put in a copyright first, so he 'won', but that does not mean he actually sat down with pen and paper and composed it (although he did send him some sort of copyright later). 5) 'Me and Gil wrote 'Boplicity' but credited it to my mother, Cleo Henry, because I wanted it in a different publishing house than the one I was signed with. So I just put her name on it.' Bet you a dollar Miles never actually said those words to Quincy Troupe. I strongly suspect this a grotesque over-simplification of the real reson Miles' mother got credit for the tune. Maybe people from the BOTC sessions might have some insight: Gunther Schuller? Lee Konitz? Mike Zwerin? Interesting discussion. Bertrand.

Isn't chewy in his mid-30s by now?

I believe a copyright deposit was found under KD's name. This happened long before I started stalking the halls of the Library of Congress. IIRC, Don Sickler was involved. Bertrand.

Oh, it's a German word! That explains why there are umlauts on the title in Mike Fitzgerald's Perason discography. This 'haitian' idea may have come from the liner notes - I should know better by now about trusting liner notes after the 'Midget' debacle. 6 years of High School german and I didn't know that. At least I know what my last name means. Thanks couw! Bertrand.

'the RVG Rumproller's previously unreleased version of Venus de Mildew' Is there an alternAte of this on The Rumproller CD?' Venus di Mildew' was already on the McMaster version of this CD, and probably on some Japanese LP as well before that. Bertrand.

Lou Donaldson has some interesting things to say on the very same subject. Bertrand.

Was everything the same scale as Stonehenge, i.e. 12"? Bertrand.

Here's something to get started with: http://perso.orange.fr/hardbop/Massey/Massey.html Bertrand.

The only one that could be an anagram is 'Durem', which is one of the rare pieces attributed to Lee on record for which I could not find a copyright, so who knows if Lee even wrote it. I asked Hicks what 'Avoctja' meant, but I can't remember now so I guess we'll never know (perhaps the name of a woman?) 'Haeschen' is German for 'Little Bunny' (edited thanks to couw - see below). 'Taru' is Cal Massey's son. He copyrighted another (probably unrecorded) piece called 'Taru Tune'. Note that Massey recorded 'Taru, What's Wrong With You' as 'What's Wrong' back in 1961. The other two are self-explanatory. I wish we knew more about Lee's relationship with Cal Massey. Only Archie Shepp recorded more of his pieces. Does anyone have a contact for Shepp? I'm trying to get a complete listing of Massey's compostions, and I wouldn't be surprised if Shepp has some that no one ever got around to recording. Bertrand.

"Haeschen" is actually by Duke Pearson. This information was relayed to me by another Morgan biographer who heard it from John Hicks. I confirmed this with the copyright deposits but unfortunately after the CD had been issued. This composition is subtitled "Little Bunny" on the copyright deposit. If you look at the Pearson discography on Mike Fitzgerald's site, you will see that this piece was also recorded for an unissued Pearson session. Bertrand.

Matt Pierson is a moron. No good can come of this. Bertrand.

'We are an EEOC dream, in terms of our staff, our board, our band, our makeup, our equality'. This a profoundly moronic statement. Bertrand.

The Miles Tribute band actually toured in 1992. Bertrand.

The great DC-area trumpeter Kenny Rittenhouse has just put out a new CD, and there will be several CD release parties in the next few weeks. I'll be at TWINS lounge tonight (Colorado Avenue). I also plan to see him next week-end at Bohemian Caverns. He's also at Blues Alley 3/26. Also at Blues Alley next Wednesday 1/31: Tommy Williams, another great trumpet player. Hope some of you can go! Bertrand.

Is it Helen More or Helen Moore? I've seen both. Bertrand.

9 posts and the name 'Kenny G' has yet to pop up. I admire my fellow organissimo members' restraint. Bertrand.

The change was about 9-10 months ago. I'm not sure what was overpriced. Who did you see, and what were they charging? I went Saturday. Cover was $12, and there was no minimum. They had a small food menu with no dish more than $12. Seems reasonable to me. I suspect you were there under the old owners. Bertrand.