bertrand

My friend David Grundy in the UK is writing an article on Larry Young for publication in the online journal Point of Departure, for which he had previously written about Alan Shorter (see below). Any information, would be appreciated, especially about gigs, particularly those from the later 60s and into the 70s, outside of the Tony Williams LIfetime and Santana/McLaughlin gigs which are extensively documented. Some gigs he already has information about include: 1) Larry with Dewey Redman and Rashied Ali at Slugs' in 1968 2) Larry with Byard Lancaster and Eric Gravatt 3) Larry with Billy Brooks and Leo Wright 4) Sidemen gigs with Houston Person, Jimmy Ponder and Lionel Hampton (as pianist) 5) A large group under his own name called 'Continuous Prayer' around the time of Lawrence of Newark (1973/1974) Anything about his later career would be most appreciated (especially those of you who may have seen him live), as well as any leads on tracking down his album 'The Magician'. Thanks! Bertrand. "Why?": The Parabolic New Music of Alan Shorter, by David Grundy (pointofdeparture.org)

I had the pleasure of shopping at Daedalus in Columbia, MD. I sure miss that place.

Such sad news.

It could well be that Billie was a bit on the wild side, but there is no reason an actress should be asked to debase herself to replicate this part of Billie's life. It is one of the things that prompted me to give up on film as an art form, films have become soft core or even hardcore porn films. In a Lubitsch film, when a couple is about to do the deed, they draw the curtains. That's all we need to see. That was art.

Yes, depends on who is putting it together of course. Fitzgerald and Cohen are my go-to guys for composer credits.

Ingrid Jensen plays it on her Here On Earth record.

The film is a mess, and her performance is a mess too. And the sex scenes are EMBARRASSING.

All discographies should have composer credits.

Larry and Ulmer also played together at Keystone Korner, but Todd Barkan does not remember the year. My guess is same tour.

Who do we know at Denon? Is there a branch in the US or Japan only? I can't keep these conglomerates straight. And where is Savoy now? At some point they were with Muse.

Yes, a detailed musical analysis could help. Remember that Dixon said Patton could never play like that. The Master Tape could have some studio chatter. Joe Fields purchased it, so in theory Barney Fields could have it. When Joel Dorn reissues it on 32jazz, did he go back to the master? I doubt it.

It would explain why Verve can't find the tape... It is odd that he arrived at the studio at the tail-end of the session, if there was a session. If I was paying for a session, I would be there to make sure it is happening. And was Pittsburgh the only town in which he needed some money in a hurry? Did he make it a habit to offer to do a quick record date on the fly and give up all rights to it? Where are all the other sessions? I have a theory that Lee Morgan may have made some secret sessions for Roulette, since he was copyrighting mystery tunes in Morris Levy's publising company. I checked with the people who would most likely have the tapes - nothing. All I know is that Morris Levy would not have given Lee some money without expecting something in return.

Mike Fitzgerald thought part of the head was flat out missing, That is not true.

Verve demo - now there's a theory. Probably from session logs, so accuracy cannot be proven until you listen to the damn thing. What exactly is wrong with Work Song? Mike Fitzgerald had issues with it too. He messes up the head on the first run through, but gets it right after. He fucks up Oleo too on a Blue Note date but no one seems to be complaining about that. I was wrong - the entire comping behind Grant's solo on Go Down Moses is Love Supreme, and Grant picks up on it during the organ solo. 100% sure it is Larry. And it can't be early 1965. Need to give Larry and Grant a chance to absorb the Coltrane record. It is the July 1965 date, period. I am sure.

$40 difference seems like a lot for a hard cover.

Just caught Michael's set tonight. Great music, highly recommended. The nod to Wayne Shorter is always appreciated!

Only three overlapping tunes though. If all 6 songs on the Iron City date were on the Verve date, we would have had a winning theory. Solved - it is neither Larry Young nor John Patton, it is Malcolm Bass! Just like Hassan, his discography doubles overnight! Reminder - Bill Heid told me it was definitely not Larry. I thought he meant in terms of technical organ issues or harmonies or something, but last time it came up, he almost made it sound like he knows something... He is in on the secret. Solved - it is Bill Heid on organ and George Heid on drums!

It can't be Ludwig - the Cobblestone record would have had to say 'Gene Ludwig appears courtesy of Travis records' LOL. When Ben Dixon discussed it with me, he never suggested it was not him. Sure wish I had recorded the whole conversation. Agreed, the Ludwig manager story is dubious at best.

I have been wondering that since the beginning, should be a no-brainer. I will not pretend I am astute enough to have questioned it before I talked to Dixon, but once he put the bug in my ear, I joined team Larry. Patton has somewhat of a more 'chunk-a-chunk' approach, Larry is more fluid (no disrespect intended). That Love Supreme vamp seals the deal for me. I agree that the story, as told, is very disrespectful of Grant.

Is it possible Gene Ludwig's manager is still around? The plot is definitely thickening...

Just want to make sure it is not too flimsy. It will be in my book cabinet except when I am reading it.

What a laugh it would be if AFM had the contracts yet Verve can't find the tapes of the August 1965 session. I totally agree there are holes in the story and maybe he is holding back. I am slowly digging on Facebook but I have to finesse it. Hopefully he will unwittingly drop a clue. I am still stuck on the fact that he said he wrote 'Patton' but can't say who was sitting behind the organ when he showed up for the tail-end of the session, just in time to pick the song title. Travis: When we did the session the listing of musicians had John Patton on organ. I could be wrong but that's how I remember it. I sold the master to Joe Fields when he was sales manager at Prestige and he put it out on Cobblestone when he went to work for Buddah. I find it interesting that this album has held up as I considered it less than the Blue Notes and the first Verve album. Me: Travis Klein, interesting. Did you attend the recording session at all? It would be ideal to find newspaper ads listing the gig at the Hurricane Lounge, maybe they can help pin down the date and the organist. Although I now believe it is Larry, I would not have questioned it had Ben Dixon not suggested it to me, and more importantly Patton had told his friend it was not him. Dixon was not basing his suggestion on his recollection of the session, I think, but because he listened to the CD. I agree the session holds up well. I prefer it to the Verve session. I wish we could hear the uinssued Verve session... Travis: I don't remember the date in 1965 but every year when that date comes up I post it my page. I came to the session when it was wrapping up. They didn't have a title for one song so I suggested "Iron City" since we were in Pittsburgh. Me: Travis Klein, and the person who got paid for the session was Grant, I guess? It seems the date is 1/18/65, in which case it has to be Patton, Young was still in Paris. And this is on the Pittsburgh Music Hall of Fame page, posted by Travis: On this date in Pittsburgh music history, January 18, 1965, Grant Green with his trio, Ben Dixon on drums and the monster "Big" John Patton on Hammond B-3 organ, appeared at the Hurricane Lounge in the 1500 block of Center Avenue on the Hill. One of the biggest thrills in my life happened that day. Billy Driscoll, who was managing Gene Ludwig at the time, came up to our store at 1811 Center and told me that Grant needed money to cop drugs and he would be willing to trade a recording session for the money. I immediately called down to Gateway Studios, owned by the the Shapiro's of National Record Mart and located above their main location at 234 Forbes Avenue to arrange for the recording session. The songs on the album are "Samba de Orpheus", "Old Man Moses" (Let My People Go), "High Heeled Sneakers", "Motherless Child", "Work Song" and an untitled number that I named "Iron City" and became the name of the album. I never thought that this album was up to level of his work on Blue Note or Verve but the Jazz Traditions channel of Dish Satelite TV (which is programmed by Bo White at Muzak) plays four of the tracks almost daily. It has held up all of these years and contributed to the legacy of Jazz's most under-rated guitarist. Charlie Apicella has even named his group, Iron City, after this album. Treat yourself by checking out some of his other work on You Tube, especially, Idle Moments and Jean de Fleur.

As long as you can confirm the paperback is sturdy enough, I will get that. With the $40 leftover, I can get the French book and the Summer Sessions CD. Cherrypalooza! Now we just need to talk Chuck Nessa into making that Atlantic half-session available for the world to hear in some legal way. My credit card is already pulled out.

You got the paperback for $20?

So there are TWO books on Don Cherry: Don Cherry: Le nomade Multikulti (Univers musical) (French Edition): Francheteau, Jean: 9782343218588: Amazon.com: Books Blank Forms 06: Organic Music Societies – Blank Forms Any reason not to get both? (Yes, I speak French).