bertrand

Tonight Matthew and I bought a copy of the new 'boss' CD for my wife for Mother's day. The CD is extra thick because one side is a DVD. The disclaimer says it may not play in all CD players. The review in the Wash. Post made it sound like this was not a problem - it actuallly plays on all machines. Is this true, or are there documented instances of non-playability? Home CD player? PC? Car player? More worrisome - will it fuck up my CD player if I put this thing in there because it's extra thick? I love my player and don't want to ruin it. No wonder people steal music. Record companies are stupid. They could have done what Dorn did with those recent Monk CD/DVD combos: an audio CD, and a separate DVD. Bertrand.

I agree with both Ronald and Allen It is very well written, and has brief yet interesting discussions. The errors are annoying though - Lee Morgan died in February '72, not January, and he mispells Frank Wolff throughout. Bertrand.

I'm surprised that Blue Train seems to have sold better than My Favorite Things, at least based on what Mike found. Were there any other titles from the Alfred Lion era that sold more than Blue Train? Perhaps Song For My Father or the Sidewinder? Bertrand.

P.S. This whole argument would not have existed if I had written my original statement more carefully to read 'for lack of space on my CD shelf, which already takes up a healthy chunk of my living room'. Perhaps I need to carefully edit all my posts from now on. It is well known that the internet is highly demanding in this respect, and I have been freeloading so far with my barely literate rantings. But all this will change now, the netiquette police is on to me.

Apparently, I need an excuse to justify not purchasing a box set full of filler, as was pointed out on this very forum by our own Mr. Nessa. I have a living room full of CDs, and only want to buy a limited amount of box sets which do take up a considerable amount of space on my CD shelf, as opposed to the single CDs. Some box sets are no-brainers, this one was not - as much as I love the Jack Johnson LP itself, I decided that I don't need all the rehearsal stuff. I just want a few tracks, and iTunes offers a reasonable, legal way of achieving this goal. I'm almost 42. I've got maybe what, 30 years left to go? I'm just rational enough to realize the limitations of how much music I can actually listen to in that time. I've already got enough music to last me until then. And yet I will buy more. But not everything that comes out. I just can't keep up. Bertrand.

Help me sort this out. For lack of space in my house, I have decided to skip the Jack Johnson box. However, I am buying a few tunes on iTunes, including those that were on the original Directions LP. I have bought the two takes of 'Duran' and 'Konda' so far. I tried to match the contents on iTunes to the listing on the Pete Losin site (Miles Ahead), but I want to make sure I got it right. 1. The version of 'Willie Nelson' that was on Directions is remake take 2, from 2/27/70, correct? 2. Take 3 of 'Willie Nelson' is actually the second half of 'Yesternow' from the JJ LP, correct? And some recommendations: If I were to choose only one take of 'Johnny Bratton', 'Ali', 'Little High People' and 'The Mask', which would you suggest? Thanks, Bertrand.

In France, the club owners actually sit down with the musicians and work out which tunes were played at the gig. It is the venue's responsibility to send in the paperwork. I actually watched someone from Cite de la Musique approach Herbie Hancock last year after a duet concert with Wayne to write down the set list. To my surprise, Herbie seemed to remember perfectly (he was smart not to ask Wayne, who probably would have given him a reply like 'a composition is never finished, so we can't really write down the set list'). I agree with Mike that the system in the U.S. is totally unfair. Why should Bruce Springsteen collect a penny when a Freddie Redd tune is played? (I mention Freddie since he needs help right now). Of course, I can't imagine U.S. club owners actually getting their act together enough to pull this off. Those idiots at Blues Alley can't even get their act together enough to tell customers on the phone who's in the band after the first set is already done. Bertrand.

Thanks Mike and Guy. Since Guy brought up the whole 'Pavanne'/'Impressions' thing, I had another question about that. I can't discern any similarities between 'Pavanne' as recorded by Larry Young, and 'Impressions'. Is it the different harmonies that are throwing me off? Any guidelines that might help me make the connection? Thanks, Bertrand.

Chuck, I assume the composition entitled 'Pitchin' Can' is also on the LP of that name. Is it a different version than the one on Black Gipsy? Are there any other Massey tunes on the Pitchin' Can LP? Thanks, Bertrand.

What is the original piece of music that became: 1. My Reverie (Claude Debussy is the composer) 2. These Are The Things I Love (Tchaikovsky composer) Also, what is the piece of music from which Woody Shaw lifted the intro to 'Zoltan'? Thanks, Bertrand.

I was very glad when the NRA moved out to I-66 and away from Mass Ave. downtown. Now there is only a little chance that I have to stare at 'em (only on my way to the Fair Oaks Tower). I have met Leeway a few times - super cool guy. I last saw him at the Library of Congress showing of the Soul! TV shows. Hope he comes back real soon. Bertrand.

At least Alan Shorter is not listed as playing bugle... Is the Pitchin' Can LP the same as Black Gipsy? There is a tune on Black Gipsy by Cal Massey called 'Pitchin' Can'. Bertrand.

All the musicians from my two favorite jazz albums, Etcetera and Destination Out, are still living. Bertrand.

Anyone tempted? Bertrand.

Sorry about the late notice. I will be there. Bertrand. TRANSPARENT PRODUCTIONS PRESENTS... FRIDAY, APRIL 29, 2005 BYARD LANCASTER’S UNIT Byard Lancaster – multiple reeds, multiple flutes, trumpet Edward Crockett - bass Bert Harris – bass Harold E. Smith – drums, didgeridoo, shells, conga @ Sangha (301-891-3214 for directions and general information) 7014 Westmoreland Avenue, Takoma Park, MD (Just three blocks east of the Takoma Metro Station @ the corner of Carroll & Westmoreland) 10:00 PM - $10 “Jazz makes people think. I’ve been playing jazz since 1949 and the music still sounds revolutionary to me. I’m on a mission to deliver a pure message of music, like Coltrane said, ‘A Love Supreme’”. (Byard Lancaster – January 2001) Transparent Productions is pleased to announce the Friday, April 29th performance of legendary multi-instrumentalist Byard Lancaster’s Unit. Multiple instrumentalist, leader, and composer Byard Lancaster has been intimately involved with music since a small child, playing piano until age five, when his mother bestowed him with his first saxophone. Born in Philadelphia in 1942 where he continues to live, he went to Shaw, a traditional black university, before attending the Berklee School of Music, part of a class of second wave free jazz standouts that included guitarist Sonny Sharrock, pianist Dave Burrell, and trumpeter Ted Daniel. Lancaster’s personal music mantra “From A Love Supreme to The Sex Machine” is evident in his varied musical associations, from performing and recording with Albert Ayler as early as 1966, releasing his debut recording, “It’s Not Up To Us” in 1967, journeying to Paris’ famed Actuel Festival with drummer Sunny Murray in 1969, to 80’s and 90’s contributions to the harmolodic and funk based ensembles of drummer Ronald Shannon Jackson and bassist Bill Laswell. Through it all, Lancaster has remained a people’s musician, performing free on the corners and boulevards of Philly, as he considers “street musicians part of the cultural fabric” and “that we need their artistic expression”. Joining Lancaster in the Unit’s unique dual bass plus drums ensemble are fellow Philly musicians Edward Crockett and Bert Harris on basses, and Harold E. Smith on drums, didgeridoo, shells, and conga. For more about Byard Lancaster, go to: http://www.allaboutjazz.com/php/article.php?id=17125

Is it really 'Free Cell Block F' that they recorded, or 'Remember Rockefeller At Attica'? Between the Changes album and the Montreux DVD, the titles are not consistent. Bertrand.

Too bad - Hootin' And Tootin' with the bonus cuts is such a great album. Bertrand.

Weizen, Wingy told you it sucked - what more do you need to know Aftab, If you're only in it for the music, the quintet session is available as bonus tracks on the U.S. Connoisseur of Vertigo. If you want the Japanese quality pressing/remastering, that's another story. Hans, Do these now have bonus cuts, or are they still straight LP reissues? Bertrand.

Reminds me of those assholes who film themselves decapitating people, then broadcast it on the web. Of course, they're wearing masks. Bertrand.

Jackie McLean Septet Iridium, NYC, 5/28/04 Jackie McLean (as); Grachan Moncur III (tb); Bobby Hutcherson (vibes); Rene McLean (ts, ss, fl); Alan Palmer (p); Nat Reeves (b); Eric McPherson (d) First set Little Melonae (Jackie McLean) Love And Hate (Grachan Moncur III) Frankenstein (Grachan Moncur III) Five (Theme) (Jackie McLean) Second set Mr. E (Jackie McLean) Naima's Tone Poem (Rene McLean) Freddie Freeloader (Miles Davis) (McLean and McLean out) Entrapment (Rene McLean) Five (Theme) (Jackie McLean)

Jackie McLean Septet Iridium, NYC, 5/27/04 Jackie McLean (as); Grachan Moncur III (tb); Bobby Hutcherson (vibes); Rene McLean (ts, ss, fl); Alan Palmer (p); Nat Reeves (b); Eric McPherson (d) First set Mr. E (Jackie McLean) Love And Hate (Grachan Moncur III) Frankenstein (Grachan Moncur III) Second set Entrapment (Rene McLean) Dance Little Mandissa (Rene McLean) Freddie Freeloader (Miles Davis) (McLean and McLean out) Little Melonae (Jackie McLean) Blue Rondo (Jackie McLean)

Here's an experiment - I'm going to try to start a 'set list corner'. If you attended a concert for which you wrote down the set listing (or have access to the set list of a gig you did not attend), post it here (one gig per posting), as well as the personnel and date. I don't know how many of you write these down when you go to shows, but I have a friend who's been doing it for years. I've been trying to get him to share his info with the jazz research community for a long time, but so far no luck. The gigs do not have to be recent - the first one I will post is from last year. Please do not include any comments about how much you enjoyed the gig or didn't - that's for another thread. I think this would be a very useful tool for researchers, and also for anyone considering attending a gig. One example for each scenario: I am trying to get an idea of which compositions from his Blue Note recordings Wayne Shorter was playing back then, on the rare occasions when he had a gig as a leader (or as a sideman outside of the Miles Quintet). I know he did some when he was briefly with Roy Haynes, but details are sketchy. If only someone had access to the set lists... Other example: I am sick of hearing standards. If a poster points out that a particular band is doing mostly originals (or almost all material by Eric Dolphy, as Oliver Lake did in D.C. a couple of weeks ago), this might attract me to the gig if I'm on the fence. I'll begin with some Jackie... Bertrand.

Who's going to e-mail the All Music Guide and Tom Lord? Bertrand.

Very interesting dilemma, Dan. I think Mike found your best hope - let's see what Ben Tucker has to say. Good luck. Bertrand.

The AMG bio is the correct Gene Harris. No classical Gene Harris shows up. So this is not the source of the confusion (not that AMG is off the hook for other errors). If even the photo on the LP Dan bought is different, this is troublesome. What do we know about Mike Long and George Herman? Bertrand.