P.D.

There was an Excellent album on United Artists under Pauls leadership,, I really can't remember the Album title but there was some confusion over one tune The Holy Main or was it The Holy Man Typical Basie type group If Select can find others to couple with it, I would like to see it rise to the surface.

I used to have the Blues RCA Lp but lost it I searched for Blues on CD but could only find expensive imports The Novus put moe off because of the cover.. they looked like cheap comps.. but I finally gave in Tracks are Do I Move You Day and Night In the Dark Real real My Man's Gone Now Backlash Blues I Want a little Sugar Buck Since I fwll for you House of the Rising sun Blues for Mama The Pusher Turn Me On Nobody's fault but Mine Go to Hell I Shall be released Gin House Blues I think the first 10 or 11 were the blues album They ( the 11) have the same band Eric Gayle and Rudy Stevenson are listed as being the Guitar players I suspect the solo's and fills are by Gayle.

The one who finished every race is probably the better driver ( bet he always fastened his seat belt and never, NEVER drank coffee or used his cell phone while driving.) The other guy was obviously the better racer (or is that raver)

Being a Gentleman, though obviously not much of a scholar where math is concerned still would have paid up.. but the bet part was more on the unissued front. it is conceivable that there may be some never issued titles in the basement, but I doubt it. So this is off my list for now.

Got you jumping up and down I though..... Jim's take on SuperChief I'd go for the Lester Young story double Lp sets on CD ( that's 10 LPs total Couw) Would duplicate the Billie tracks but those Pres alts are well worth having.

OOPs you are correct I was counting from the lp set and forgot there were two sides to an LP ( 12 x 25 mins should have been 24) So mucch of the one sided CD era ... In that case.. why the alts????

how do you count that???? there are about 179 Masters as qualified in my post( might have mis counted but only by one or two. This is the Columbia set.. not a mix of Columbia ( smith Jones ) Decca / Columbia / RCA / Columbia that indeed would fill about 7 CDs

Pastel Blues, the album, is what got me turnedon to Nina Simone.. I heard her romp through Sinnerman, and went seeking the album. Powerful stuff, as you say often with political overtones, and often it seems, touches of bitterness.. but also she can turn out believable pleas for and statements of love and affection. Never really knew where to " file " her.. but she sits in my Jazz section. I won't buy the box as six of her phillips albums were put out on three CDs fairly recently and I immediately bought them as they hit the stores If you want more after exhausting the Phillips set look for her first two RCA albums Silk and Soul and especially.. Sings the Blues... ( this one was complete plus some other RCA's on the Novus issue 3101.. which is often seen in the used bins

Well it depends what you call a comp. A compilation to me is when they take bits from different recording sessions and throw them together. More prevalent in the LP era where bits of different LPs were put together on one other LP or now CD, in such a way that you never got any of the whole albums Thes Basies were recirdedjust before and into the LP era, but most were recorded as single 78 rpm releases Basies complete Columbia output of Master takes would fit just about 3 CDs.. a little more It wouldn't be a comp because you'ld get his whole Columbia output by title If you remember the thread, there would be no titles missing, just alternates.. of which a lot were Earle Warren vocals that We, at least I can do without. Actually a quick look at what was on the 20 Lp ( 2x 10 LP boxes ) shows that Warren didn't sing that much, but a lot of the extra takes are indeed vocals by Rushing and Humes. I would be more tempted to buy this if indeed it did have all the alts, but as long as they include those with Pres, they will be worthwhile, especially if you don't have this material already. Isuspect the "new unissued" material will all be alts that haven't been issued in the USA. Like to mnake a bet we got a long time to wait.

We did this before on AAJ,I think, debating the potential of a Mosaic.. can't find the thread.... This will not be a comp Basie recorded about 179 tracks for Columbia Starting with the 4 Jones / Smith recordings in1936 ( there is one extra take of Shoe Shine Boy in existence) The number takes into consideration the three double length tracks World is Mad Miss Thing King Joe Counted as 2 tracks each as they were double sided 78 rpms Also includes the small group All American Rhythm Section tracks..8 small group recordings from 42 and the Octet from 1950 The masters filled up 6 x 2lp sets on French Columbia I believe the complete output with all alternates was about 20 lps !2 lps roughly speaking is about 240 mins of musicc, about 3CDs by current standards. 4 Cds should therefore be a fairly complete set.. depending on what they mean by " unissued" as all alternates etc were in the French 20 lp set The music is of course all currently available complete on Classics... with the alternates on Neatwork. It will be interesting to see if they really do have some new , never before releaesed material, but I'm betting that means, never before in the USA All the Alts. featuring Pres were released in the 5 x 2lp Pres sets that Columbia put out a few years back. Wonder if it's going to be in a " Billie type Box"... hope not.

I wonder if you still feel this way about the Blackhawks based on the current reissue? This may not apply to you, as you state the Blackhawks were one of your first jazz records, but I get the impression, myself included, that we all wanted a strong Coltrane presence next to Miles. the recordings with Coltrane were much played items on jazz collectors turntables, and Coltrane leaving the group seemed a bit disastrous. Also most of the tunes on the Blackhawks had originally been brought into Miles repetoire via studio recordings with Trane on tenor. I often wonder, would the take on Mobley with Miles be different had they stayed together and produced a number of items that could be looked on as Miles / Mobley specific. The same seems true of the other front line partners to Miles, until Wayne became part of the group. As it is I am enjoying the new CD reissue much more than iI think I did the original LPs

Just out of curiosity, does this mean that you don't see the "AS IS " statement until you open and presumably remove the disc from the case?? Seems a liitle odd if so. Shouldn't such statements be on the outside of the package???

Thanks for that John.. hadn't heard about it from the rags I read. Melodisc jazz recordings are rare, especially on CD

Grat music.. not just the vocals but the bands. The alternates are well worth it, even if you are not into alternates.. generally the solos, especially those by Pres, are dquite different on the various takes. I am not one to dump old CDs just for a sonic improvement, I bought the Billie because I wanted the Alternates.. Pres on Mean to Me in particular.. but have to admit that on my system the sound is spectacular considering the age of the recordings ( idid have, still do, the older set)

Perhaps not in the middle of the Paris recordings, but definitely during the European bookings of 55 The Jazz discographies show his last recording to be with Lars Gullin ( and Chet ) in Germany Oct 15th. Twardzik died on the 21st Baker's tour lasted longer and he used local piano players after that. After Twardzik's death ( according to the Paris Cd notes ) Baker appeared in London on the 23rd, but union rules only allowed him to perform as a singer, he had Raymond Fol on piano.. the notes say he sang only four songs, before he was "overcome with emotion." Baker's quartet recordings with Twardzik certainly rank high in his discography

Don't know if this is the correct forum, but in light of the ongoing Wynton trials and tribulation, and the current revival of " interest " in the Burns documentary... This from an interview of Donald Harrison by Derek Ansell in the current Jazz Journal.... DH... Terence Blanchard and I started a band together. We were co - leaders together and at the time I wrote a song called New York Second Line that became very, very popular. I didn't realise that it would be so influential. It was funny because, at the time, Wynton and I used to fuss about New Orleans music because he didn't like Loius Armstrong. DA.... Really? DH... Oh, yes. And I told him he was so wrong and he just didn't know. And you know, Wynton is very, very opinionated and he would say New Orleans music is ignorant, and Louis Armstrong was ignorant, and I said Wynton you just don't know. So I wrote this song, New York Second Line and the second line is what they call traditional music of New Orleans, where I married the rhythms on New York with the rhythms of New Orleans and put some abstract harmony on top of it. And he must have changed when he heard it because he told me I might be right about something and he started playing New Orleans music and a lot of musicians started playing it and they said they liked what I'd done later in the article... discussing Wyntons change to champion and defender of Older music... DH... He has changed, He really has. I came to the conclusion when I was really young that you experience all kinds of influential music, but he couldn't understand that........ .......... It's the same with music.. If I go through certain experiences I can put that in the music. But you can listen to someone else has done and gain from that also. Although it's not the same person who had the experience. Art Blakey used to say, once you present an idea it belongs to the world, just give credit to the creator. I think Wynton is beginning to understand now that experience has a lot to do with how you play music. There is no date given for the Interview, but it was presumably fairly recently when Harrison played London . It would be interesting to correlate the recording of New York Second Line ( october 1983 ) with Wynton's turn to the older music ( I had always thought that being from New Orleans that Wynton was aware of, and in favour of it, from his beginnings). Perhaps Hardbop can refute Harrisons statement Was Harrison the Frankenstein to the Wynton monster

Regardless of all the debate, this is still the best documentation presentation of jazz on tv... 19 hours. I would bet my entire record collection that if any of the programmes hardest critics on this board, or any other, were given the oppertunity to produce such a series, the resultant outcry would be pretty much the same. Why wasn't Jabbo Smith given his full due Dammit

From the point of view of a Father's Day present, who cares if the book is good or bad ( unless it is absolutely terrible ) There have not been many books on Morton, and if your father is a big Morton follower then any books , no doubt, would be welcome. The Lomax book was written so long ago, in a time when "journalism" was a bit more sedate .No doubt the newer books reveal much more about the subject There was recently another Morton book DEAD MAN"S BLUES... JRM way out west by Phil Patras, published 2001 It centers on Morton's experiences on the West Coast 1917 - 1922 and 1940 - 41 which perhaps makes it a bit of a book for the specialist.. mightbe just the thing for your father. It received very positive reviews.

In response to Alexander Everyone has a different opinion.. I agree with the Armstrong evaluation.. The part in the Burns Show where they repeat the often mentioned fact that Hello Dolly Knocked the Beatles ( whatever it was ) off the charts always annoys me. It generally seems to be cited as a measure of how great a musician Armstrong was, which I think belittles his contribution to Jazz and music in general. The Beatles hit had been on the charts for 4 weeks, by then I would imagine about 90% of all who wanted to buy it, had already done so. such was Beatle Mania at the time. Dolly purchasers were possibly Moms 'n Dads relieved that there was something they could buy.. also it was a SHOW tune etc. I don'y know any JAZZ followers who ran out and bought the record. Ellington??? I think you are missing quite a bit. Ellington should almost be looked at in decades 20's/ 30's / 40's / 50's etc. each had innovative periods distinctive to the development of the music and the musicians. Only relatively later did his influence seem to dwindle, possibly 70's on. Your Brubeck statement, in light of your dismissal of Ellington seems a little facetious. Brubeck was definitely more than Take 5, but his influence on the Jazz scene in both music and musicians, and the History of Jazz.. which is what the Burns series claims to be, is far less than Armstrong or Ellington.. or a whole host of others. If Burns spent a lot of time on Brubeck,( I'd have to watch it again to know for sure) then that too, is an extreme waste of time. I guess it depends on how you define a Giant of Jazz.. which of course is what leads to the debates about the show...we get the Burns / Marsalis / Crouch etc. definitions which obviously don't always agree with our own.

according to Lord you have it all There is no indication that As long as I live is two different takes, but the title appears on both the black Lion and the Storyville. I obviously have theTom lord.. all the Books and the Cd rom. This kind of info. can be pulled up in seconds. I use the Lord a Lot sorting out my collection and preparing my own CDr's.( I still use the books a lot too ). Don't mind using it to answer questions like this, but if you need this type of info regularily, then the Lord CD is worth it, perhaps not by selling off sets or albums, but maybe saving up for it. There are errors in it, as in all works of this kind, but it is still a very useful tool to have.

Seattle area members may want to try this Granfalloon 2 for youse all

So we thought we'd try again Granfalloon 1 was a great sucess.. at least in our minds... via the BNBB We changed the date roften to try to fit in those who said they would attend.. changed it so much that ultimately we could please no one So no changes except would you prefer Saturday July 12th or Sunday July 13th date determined by response Woodinville Wa My house Starts 2.30 in the afternoon I will supply Food, cheap wine and beer.. and music though bring a CD if you want to create lively discussion. so come meet Seattle area Bulletin Board members.. anybody visiting the area.. you're welcome too. Need an RSVP via PM system so I work out how many cases of beer to buy, how many hot dogs... Beer not a joke, hot dogs are.. definitely the food will be better than Hot Dogs " n Chips "n dip. So if interested.. PM me.. tell me which is best.. Sat or Sunday

The tune was originally called INTERLUDE Boyd Raeburn recorded it a couple of times.. maybe a Gillespie arangement..around 43 - 44. Sarah vaughan recorded it, with Diz in the band Jan 17 1945.. available on all kinds of cheap Sarah comps. The first Diz led band that recorded it seems to be an Onyx Club recording from Jan 1944.. Diz with Budd Johnson / George Wallington / Oscar Pettiford / Max Roach... a broadcast recording Raeburn recorded it April 44 withDiz as the arranger Jan 45 with Diz on trumpet.. twice, once as Night.. once as Interlude Diz's first Studio recording,as leader and issued under his own name wasthe Feb 22 1946 session for RCA.. the septet recordings.. of which two takes exist Thank you Masters of Jazz...Media 7.. why the hell did you quit?????

Carmen Leggio tnr John Bunch pno Henry Grimes bass Living Time You are my sunshine Avalon Cute Jive at Five Take Me out to the Ball Game Gypsey in my soul Swing Time New York 1962 Via Tom Lord I really hate the tune Cute

Now thats an ALBUM... wqhere the hell is the CD reissue?? Part was on the Bluebird.. I} know... But part is not enough.