jeffcrom

Today's theme was "Swinging Big Band Jazz by Corny Bands," or something like that. Some of the flip sides are more typical of these bands' output; I won't mention those. Horace Heidt and his Musical Knights - Seven Years With the Wrong Leader (Columbia, 1941). You would think a Horace Heidt record would be the worst of the lot, but this is a pretty good side, with a nice clarinet solo by one Buddy Saffer. (The soloists are identified on the label.) Bobby Hackett is in the trumpet section, but doesn't solo. Jan Savitt and his Top Hatters - Quaker City Jazz/Sugar Foot Stomp (Bluebird, 1938). "Quaker City" sounds like what the Casa Loma band would have played in 1931 or 1932. "Sugar Foot" is better. Sam Donahue - Dinah/Take Five (Capitol, 1946). Not bad, just about six or seven years behind the times. "Take Five" ain't that one, it's a novelty swing song. Charlie Spivak - Flat Feet (RCA Victor, 1946) Charlie Spivak - Leave Some (RCA Victor, 1946). Both of these swingers came from the same session. Pretty good music, just a little anachronistic for 1946. Spivak's jazz soloing leaves a little to be desired, but the other soloists are good. I enjoyed the Spivak sides so much that I ended with a record that didn't fit the theme - it's more like corny music by a corny band: Charlie Spivak - Sentimental Trumpet/Red Lilacs (King, 1953) This came in a box of records I bought a couple of years ago; I played it once at the time and not since until today. "Sentimental Trumpet" (credited to Charles Shirley) is better than you would expect from the title; it has nice changes. The flip is a waltz, and it's about what you would expect. I had never looked up the personnel of this record until today; I was surprised to see that Rolf Ericson was in the trumpet section. A little checking reveals that his first U.S. recordings were with the Spivak band. These records were another reminder of why I like 78s so much. I never in a million years would buy an CD or LP by any of these bands, yet all of this music was worth hearing. I picked up these records either as part of a lot or for a dollar or less each, and I really enjoyed hearing them today.

Would have loved to have experienced that bass/contrabass sax trio in person.

Anthony Braxton - For Trio (Arista) When this album came out in 1978, it quickly became one of my favorite records. Then, as I started exploring Stockhausen's music, For Trio began to seem kind of derivative to me. Now I think I've come out on the other side. Yes, For Trio is influenced (perhaps in fairly superficial ways) by Stockhausen pieces like "Zyklus" and especially "Refrain," but it ends up occupying a very different space than those pieces - perhaps due in part to Braxton's jazz background. And the passage played by Roscoe Mitchell and Joseph Jarman on bass saxes and Braxton on contrabass sax just flat-out kicks ass.

Another spin of this excellent album. I should add that a few cuts have bass - another "modern" touch. And we're all glad you're back, MG!

Reuben Wilson - On Broadway (BN Liberty). After Oregon, I needed something greasy.

Oregon - Out of the Woods (Elektra). Someone gave me this earlier this week. I have a handful of Oregon albums, and like them okay. There are usually a couple of really good pieces on each album, and the rest is nice enough.

Spun a bunch of archaic music today; probably the only stuff of interest to folks here was: Butterbeans and Susie - I Can't Use You/A Married Man's a Fool (Okeh, 1924) Butterbeans and Susie - Cold Storage Mama/Bow Legged Papa (Okeh, 1925) The second one looks more worn than the first, but sounds better. Clarence Williams is on piano on both.

That's a funny selection. I know the Black Beats recorded for Decca West Africa; don't know about the others but the AMbassador Springboks sounds like a SOuth African band (though there was an AMbassador label in Ghana). Seems odd for it to be on Fontana. Can you tell when it issued? MG According the this interesting site, it was issued in 1964, when U.S. Fontana was a subsidiary of Mercury, and used primarily for "international" records. The album notes suggest that all or most of the bands (including the Ambassador Springboks) might be Nigerian, but the notes are so casual, elementary and uninformative that taking them seriously would probably be a mistake.

Saxes, Inc. (Warner Bros. stereo). From 1959 - Bob Prince charts for 12 saxes (13 when Coleman Hawkins is added), including Phil & Quill, Al & Zoot, Herb Geller, and Hal McKusick. Lots of fun, except that most of the solos are kept very short, except those by Hawk and a couple by George Auld.

Dave Tarras/Abe Ellstein - Jewish Melodies (Period). One of those great 50s/60s small-label Dave Tarras albums; can't find the cover online anywhere. Son-in-law Sam Musiker is on tenor sax, and there's a great version of "Second Avenue Square Dance." I always thought that Tarras wrote that one, but it's credited to Ellstein - I guess I just never noticed.

This new find.

Stopped by an antique/flea market this evening and came away with a minor gem: Afican Highlife (Fontana). A 1964 LP collection, with The Black Beats, The Comets, The Chasmen Sunset Band, The Ambassador Sprinkboks, The Happy Stars, The Stargazers of Kumasi, and the Modern King Stars. My copy is fake stereo, but sounds okay with a mono cartridge. Pretty cool!

Agreed! I've been trying to track down a copy of the 78-only take ever since you posted about it in the 78 thread.

Sammy Duncan and the Atlanta Jazzmen (Down Home Cookin'). The original issue of a 1976 album by the cream of Atlanta's once-thriving Dixieland scene. It's been reissued by Jazzology - their cover, shown above, is similar to the original, but not exactly the same. The pictures of the guys on the back cover look like, well, 120 miles of bad road. The music is good, competent Dixieland, and clarinetist Herman Foretich is a couple of steps above that - he was really good. I never played with Herman, but as a young man I did a few gigs with the drummer, Spider Ridgeway, who was every bit as scary-looking in person as he appears on the back cover.

I'm intrigued, but doubt I'll spring for this unless there is previously unreleased material included. For about 15 minutes I was puzzled - I could only come up with four Milestone albums: Duets, Peacemeal, Spirits, and Satori. Then I remembered the two duet albums with Alan Broadbent, recorded years later. I'd love to hear some new late-60s/early 70s material, but otherwise I'll pass - I've got all the released stuff except for the second Broadbent duet album.

Steve Lacy Quintet - Follies (FMP)

Earl Hooker - Sweet Black Angel (Blue Thumb)

The Hollywood All Stars - Hard Hitting Blues From Memphis (High Water)

Earlier today: Lars Gulling - Modern Sounds: Sweden (Contemporary 10") Now: Keith Jarrett - Birth (Atlantic)

Miles Davis - The Cellar Door Sessions (Columbia); disc 2.

Bebop and such: Bud Powell - Bud's Bubble/Somebody Loves Me (Roost, 1947) Oscar Pettiford - Sonny Boy/Cello Again (Roost, 1952) OP on cello; Billy Taylor and Mingus in the rhythm section. Buddy Stewart - Laughing Boy/Shawn (Sittin' in With, 1948) Wardell Gray and Eddie Bert on "Shawn." Dodo Marmarosa - Mellow Mood/How High the Moon (Atomic, 1946) Stan Kenton - Laura/Jump for Joe (Capitol, 1951) Art Pepper solo on "Joe."

Sidney Bechet - King of the Soprano Saxophone (Good Time Jazz). The meat of this one is a 1954 Paris session with Jonah Jones. Jazz at the Philharmonic - Norgran Blues 1950 (Verve). Lester Young's entrance on "Norgran Blues" is stunning.

Thanks, Roi (and mikeweil)! That answers my questions completely. That's the problem with searching for old threads. I never would have thought to search for this discographical information under "Mosaic and other box sets.)

Foster/Wallington arrived today in great shape - thanks for the fast service.

After doing a search, I decided to ask my questions here, instead of starting a new thread. (I want points from Larry!) 1) Am I correct in thinking that Monk's Columbia album Misterioso has never had a U.S. CD release? I know that the album was kind of a "bits and pieces" affair from various sessions, and was not actually all recorded live, as it claimed. So: 2) Has all the material from Misterioso appeared on other CD releases, as bonus tracks, perhaps?