bertrand

Mark, What tunes are on your tape? Thanks, Bertrand.

Does anyone know what the original LP sequence was for Curtis Fuller's United Artists session Slidin' Easy (the one that was in the Mosaic box)? I have a track listing I got from who knows where, but I found other sources that disagree. I have: Bit Of Heaven Down Home Down Home (alt.) When Lights Are Low C.T.A. Bongo Bop I Wonder Where our Love Has Gone Anyone have the original vinyl? Thanks in advance, Bertrand.

Vibes, I found an old notebook where I had the info. It agrees with you for the four BN sessions, but it does not agree for the UA session. I wonder what the track sequence really is. I will start another thread in discography. Bertrand.

Stefan, I'm very interested in House Party. I left you a voice mail. Bertrand.

Daniel, Brownie, You guys are absolutely right. The melody best known as 'Soft Touch' was recorded *three* times by Lee. 'A Waltz For Fran' from Take Twelve (01/24/62) 'Slumber' from McLean's Consequence (12/03/65) 'Soft Touch' from The Procrastinator (07/14/67) If that were not enough, he copyrighted all three of these titles, and copyrighted this song *again* as 'Too Much Dues' on 02/08/67! Bertrand.

Vibes, Thanks for the info! Bertrand.

Templejazz, Despite what the LP and CD say, 'Haeschen' is a Duke Pearson composition. If you look at Mike Fitzgerald's Pearson discography, you will see that he recorded this tune (as 'Haschen') on an Atlantic session that was lost. Duke copyrighted it, Lee did not. 'Ceora' is partly inspired by the standard 'If Someone Had Told Me', which appears on The Magnificent Thad Jones, Vol. 2 (the pigeon cover). Bertrand.

I was thinking of burning some of the Curtis Fuller BN/UA sessions in my Mosaic box to listen to in the car, and figured that while I was at it, I would try to re-create the original LPs. So, does anyone know the correct LP sequence for the following Fuller LPs: The Opener Bone And Bari Vol. 3 Two Bones Slidin' Easy (UA) Thanks in advance, Bertrand.

The Complete Ornette Coleman Impulse! sessions. Bertrand.

A lot of musicians are a-holes and have been quoted as saying really nasty things - Miles being just about the worst... Except that Duke Jordan takes the absolute cake. Of course, Miles said some nasty things about his playing in the 'autobiography', but Jordan's response was way out of line and utterly tasteless. I'm alluding to an interview I read where he was so mad at Miles that he said he hoped he would get AIDS. Since that may be what happened to Miles anyway (there have been rumors, but I don't want to dredge that up), it's in particularly poor taste. Miles notwithstanding, it's also in poor taste for the millions around the world who have died or lost a loved one to this horrible disease. That's why I'm boycotting this loser's sessions as a leader. I'll keep the sideman dates - no way I'm parting with True Blue! Bertrand.

CD depot in College Park had three copies of Wahoo and one of Flight To Jordan for $13.99. I already have the former and will not pick up the latter because I am boycotting Duke Jordan on principle (as a leader, not sideman - I'm not crazy!). I did get Miles Davis's No More Blues on Jazz Door for $10, however. That's one I hadn't seen in years. The sound is ragged, though... Bertrand.

Mnytime, weizen, out to lunch, Please know that you and your families are in my thoughts in this difficult time. Bertrand.

I guess the probability of running into them at an airport is higher! Of course, you even got to fly with Jackie Mac. Did you chat with Steve Davis at all? He's a real nice cat. I stayed in the same hotel as Jackie in St. Louis one week-end (as well as Billy Higgins, Richard Davis, Randy Weston, and Sonny Fortune). But that doesn't count, since we were all there attending a Miles Davis conference! Bertrand.

What, they couldnt find a picture of Larry Young from *any* era??? The song titles must be made up by the bootlegger - I wonder what the tunes really are. Rooster, did you find this on e-bay or do you have a copy yourself? If it's the second option, you know what my next question will be... You guessed it: how is the sound quality? Bertrand.

I see that Dream Keeper will need to be revisited by me in the next few days. The live show was definitely great, so maybe I did not listen attentively enough. Bertrand.

In the same spirit as the 'Faces And Places' thread... Have you ever run into any jazz musicians in a 'civilian' context? After all, they need to go to the grocery store or the barber or take the subway like the rest of us. This excludes: 1. Meeting a musician at a gig, obviously 2. Running into a musician that you know on a professional level, because you are a musician or a jazz researcher or someone in the field Not to knock local musicians who are great, but I am thinking more of musicians known on an international level. I know a lot of D.C. musicians, and I've occasionally run into them in the Subway or on the street. However, the odds of running into the three I mention below are very small, especially since I saw them in D.C. and they live in the NYC area. One example I remember from the old board: someone posted that they once ran into Dr. Lonnie Smith at Tower Records. Also, a guy from my office was from Fort Lauderdale, Fla. (in fact he moved back there) where the Turbanator lives, and I asked him if he ever ran into a guy with a turban and a cane and a beard. He said he had run into someone with that description at the beach! Anyway, my three: 1. James Williams. I ran into him at Dupont Circle in D.C. one Sunday. I know him a little, and I know he has friends in D.C., so it wasn't unlikely. But he was just walking down the street... 2. I'm 99% sure I saw Ron Carter at the D.C. Zoo one Saturday about two years ago. He had that pipe... 3. One Friday night, I walk into the Borders' in Friendship Heights at the D.C./Maryland border and who do I see but Joe Chambers! I know he has a girlfriend in D.C. (she was with him). I would not have recognized him, except that I had just seen him play in Delaware a few weeks before. My uncle, who is a doctor in St. Brieuc, France (and knows nothing about Jazz) has an amazing story. One time, he had to fly from Paris to his home and took a small chartered plane. The only other passengers were a few 'bizarre' African-Americans. The next day, he was walking with his son who plays the trumpet and knows a little bit about Jazz. They stopped in front of a poster of Miles who was playing that night. My uncle said: 'that's the guy I just flew in with'. Imagine! Miles must have gotten a kick out of sharing a plane with probably the only person in France who had no clue as to who he was! Any other stories? Bertrand.

Speaking of that Terence Blanchard Jazz In Film album... The date 1999 is, I assume, the release date. I wonder when it was recorded. It must be one of Joe Henderson's last sessions, if not the last. How much solo space does Joe get? Bertrand.

The Ballad Of The Fallen (w/ arrangements by Carla Bley) is an absolute masterpiece, not just for Haden's playing, but also for many of the sidemen (Steve Slagle etc.) and especially Dewey Redman, who is just brilliant on La Pasionara. I was lucky to hear this group in July 1985 at the Vitrolles Festival near Marseille, France. It was a 12-piece band, but the Carla Bley half of the group was replaced by other musicians (Ken McIntyre, Jim Pepper, Amina Claudine Myers, Craig Harris, Baikida Carroll). No Don Cherry either. The group was a lot less tight than on the record, although they played the same tunes. Essentially, they played the heads, then each solist got a 10-15 minute spot where they sometimes went into totally unrelated areas (Craig Harris especially). However, Dewey's solo was simply amazing. It was airy, dancing, just plain made you feel good to be alive. I ran into someone who saw the group a few days later, and he said Dewey was good at that concert, but concurred that his solo at Vitrolles was mind-blowing. I sure wish I had a tape of that concert to be able to revisit it. It almost didn't happen because Haden was very ill. They also played in the early nineties at the Duke Ellington School in D.C., with material from Dream Keeper (a much weaker record). This concert was super-tightly arranged, and really blew my mind. Another one I would love to revisit. Bertrand.

In A Few Good Men, Tom Cruise walks right in front of the apartment building in D.C. where I lived at the time (The Allen park, 20th Street, N.W., in Adams Morgan) [or that I had just moved out of, depending on when it was filmed]. Bertrand.

Haven't heard the 4tet, but Al played his ass off last Tuesday with McCoy Tyner at the University of Maryland. Bertrand.

Mike Mossman will be in D.C. next Friday at the Smithsonian's Imax Jazz Cafe, as a guest with the group Cu-bop. Bertrand.

Kevin, I meant that only volume 1 was reissued on CD * a second time *. The original LPs with the covers with jars of preserves came out on CD (and on VHS). Years after they went OOP, the first volume (w/ Henderson, Hubbard, Hancock and Hutcherson - i.e. the 4-H club) was reissued on CD as Town Hall Concert. The other three CDs were not reissued at that time (nor later). Bertrand.

The authorship of 'Blue Ching' is in question. It sounds like a Bobby Timmons tune, but it appears on the legendary rejected Kenny Dorham BN session (the one with Grant Green), so it may be a Dorham tune. Bertrand.

The Town Hall Concert CD in question was volume 1 of One Night With BN Preserved. The other three volumes were never reissued. I sure hope the DVD does come out. I got a free Toshiba DVD player in May with my Sprint rewards but I still haven't hooked it up! If this DVD does come out, it will be a strong incentive to hook up my player. After all, volume 2 had a half-hour set with Jackie McLean, Woody Shaw, McCoy Tyner, Cecil McBee and Jack DeJohnette... Bertrand.

I've wondered about this for years... 'Witch Hunt' from Speak No Evil starts with what sounds like a written introduction, then goes into the head/solo/head structure. I always wondered if this intro was perhaps lifted from a piece of classical music, as was the intro to Woody Shaw's 'Zoltan' on Unity. The answer may be obvious, and I apologize in advance for my complete ignorance of classical music. It's just always struck me as odd, because Wayne's compositions at that time mostly adhered to the head/solo/head format, at least as they appeared on the records. What Wayne had on paper in the privacy of his own home is another story... Of course nowadays, he's revisiting the old tunes and altering them dramatically (e.g. Orbits), or perhaps pulling out sections of the compositions that were not used on the records before. According to an interview with Peter Erskine in the recent BBC radio documentary, Wayne would bring massive scores to Weather Report recording sessions, and Zawinul would extract just a small portion to use on the record. Some accounts have Miles doing the same thing, although Hancock in another interview says that Miles would leave Wayne's stuff pretty much as is. Anyway, any ideas concerning the origins of the intro to 'Witch Hunt' will be appreciated. Bertrand. P.S. Is there any realationship between the tunes 'Capricorn' (which appears on Water Babies and Super Nova), and 'Capricorn II' on Alegria, or are they similar in name only?