mikeweil

Duke Ellington's tune Azure Te, aka Paris Blues, played by Kenny Burrell, Richard Wyands, John Heard, and Lenny McBrowne, on Burrell's Fantasy LP Stormy Monday. Makes me want to play that tune with a pianist who asked me to make up a trio with him ... Available on this CD:

Mosaic's Sunday Jazz Gazette included the great news that the video I mentioned above can now be seen online: http://www.jazzwax.com/2017/04/ben-webster-ahmad-jamal.html The hand seen plucking bass strings at the video's start is Duvivier's.

Same here, So far discs 1 and 7, right now I'm spinnging disc 2.

Jean-Luc Ponty, Electric Connection (1969) - with the Gerald Wilson Orchestra I liked this when I first heard parts of it on the radio in 1970, and I still like it.

BTW - there is an uncredited bongo player heard on S'Mada and Guarachi Guaro - they way he plays shows he is not a Cuban but some jazz drummer trying to pick up some things - for someone like me who studied Cuban percussion it is always hard to listen to these ramblings. Dizzy had a young but sufficiently experienced Cuban conguero in Sabu Martinez. There are noticeable differences between both versions - Wilsons's later version is expanded and has oboe/flute duets showing he listened to the Machito orchestra (it recorded several tracks with an oboe lead).

Sunday late morning listening: The Portuguese guy who won the Eurovision Song Contest last night said he was inspired by Chet Baker, so I set out to play my wife some singing Baker ..... Next there was: amazon just reminded me that I bought this CD ten years and one month ago. Guess who's on bass? Duvivier! ... while thumbing through this indispensable book:

That Ronnie Foster record is nice - Gordon Edwards keeping the groove on electric bass, while Duvivier colors the thing with carefully selected plucks and bowings - I really listened to him on that album and learned to appreciate waht he was doing.

When you try to add it to your shopping cart you get a note there is not enough stock - same for the Joe Pass set. Since things developped they way they did I ordered a copy of the Joe Pass set from Mosaic. The others I want will have to wait, it seems.

What Anatol Schenker writes in the liner to Chronological Classics CD 1444, "Gerald Wilson & his Orchestra 1946-1954" confirms my assumption: "After Wilson broke up his band he carried out his intention of studying by joining Count Basie's big band for a while in 1948, as well as with regular appearances backing Dizzy Gillespie the following year. Playing with and learning from Gillespie audibly inspired the scores recorded in 1949 with another outstanding collection of seasoned West Coast studio musicians." So Wison wrote his chart on Guarachi Guaro while with Gillespie in 1948/49. That Pozo was not co-credited for the tune was not a smart move by Dizzy, who knew that Chano had a sister in Cuba and a brother Chino in the USA who could have benefitted from the royalties. After Cal Tjader made the tune a hit in 1954 that must have been a considerable sum .... There is none of all this in Dizzy's autobiography - Wilson is only mentioned in passing (as a trombonist!), and his account of Chano's death is inaccurate (see the Tumbao box set for proper documentation).

I tend to buy any album Duvivier plays on, never heard him uninspired. His tone and drive, along with a very personal sense of melodic imgination makes him one of the outstanding bass players in jazz history, IMHO. There is a priceless video, Jazz Studio '61 where you can see him in an all star band with Ben Webster, Jo Jones etc.- the other band was the Ahmad Jamal Trio with Israel Crosby and Vernel Fournier. Just to see how much Duviver digs the way the trio plays is worth the price of admission. He must have been a very open minded guy, no matter what context he played in. Eric Dolphy dates on Prestige or Verve studio recordings involving writen parts, he had it down. I remember another video where he accompanied Benny Carter shortly before his passing - so much swing and elegance! I could list any session he played on, here's just one that caught my attention: Blues shouter Wynonie Harris belting out 'Quiet Whiskey' - Sir Charles Thomspon, Mickey Baker, Duvivier, and Specs Powell behind him rock the house!

There's some details in the liner to the Chronological Classics release - I'll post that tomorrow.

The correct title of the tune is Guarachi Guaro - it was one of the last, maybe the very last piece that Chano Pozo wrote, probably in collaboration with Dizzy Gillespie like his other contributions to the band book. The chronological list of Pozo's compositions in the booklet to the 3 disc documentary on Tumbao, "El tambor de Cuba", dates it to 1948, alongside Tin Tin Deo.The latter was recorded by James Moody for Blue Note on October 25, 1948. Pozo did not live to do do a studio recording of Guarachi Guaro with Gillespie as he was killed on December 2, 1948; his successor Sabu Martinez played on the Victor session on December 29, 1948. The likely opportunity for Wilson to meet the Gillespie band and and hand them the sheet music was their Californian tour in July, 1948. It was a Gene Norman produced event, I do not know when the first recordings of the Pasadena Concert were released, but anyway, Guarachi Guaro was not among them. The earlest known recording of the tune is from a Royal Roost broadcast made October 2, 1948. In the credits to Gillespie's complete Victor recordings the arrangement is credited to Wilson, the tune to Gillespie alone, which is incorrect; Dizzy copyrighted the tune (you can't pay a dead man any royalties). Insiders always knew it was Chano's tune. Other recordingsof it from later October and November broadcasts are still unissued. From these facts and the few discographical data I find about Excelsior releases I find 1949 a plausible date. The difficult Cuban Spanish pronounciation caused many misspellings, up to Guacha Guaro and even Wachi Waro - try to transcribe it from the vocals on the Gillespie record ...

Yesterday when I looked both the Hines and the Pass were there on the Jazz Messengers Mosaic page, now they're both gone again .... On Mosaic's site, that is.

You did! For those interested, Jazz Messengers have listed the Hines box once more - seems like they got another (probably last) batch from Mosaic.

This one arrived here today - great, as was Molardi's complete recording of Johann Sebastian Bach's organ music, which I wholeheartedly recommend. It throws a shady light on the German secene that it takes an Italian organist and a Dutch label to finally cover the works of these two uncles of the best known Bach. (Johann Christoph Bach lived 1642-1703, btw.)

Clare Fischer and his son started selling CDRs of the Revelation and Discovery titles from their own website before Fischer's passing, IIRC. The Pacific Jazz stuff was just two trio dates, one very special big band date that Johnathan Horwich reissued in excellent sound (Extensions) and two Latin Jazz dates, Manteca and So Danco Samba. Then there are sideman dates and collaborative affairs with Joe Pass and Bud Shank. I think Cuscuna found it good music but too diverse for a box set (he reissued the trios in the Pacific Jazz Piano Trios Select). They would have fit on a three disc Select, technically. Fischer's work is very diversified - I think this is fascinating, but it makes it hard to put in boxes - you get the idea?

You should - your description is absolutely correct.

Same here, both sentences!

Have this one in the car at the moment - great swinging music, the bass players stand out.

The Earl is in the house! As others said, excellent packing from Jazz Messengers, and friendly service from TNT on the same level. I'm glad I got me a copy, the music and sound are surprising in every respect. Well, I never was disappointed by a Mosaic set. The Jamal is next, I have decided.

The Pass box is out of stock with Jazz Messengers, too.

Another educated guess: Maybe Berg and later Ralph Moore did feel more comfortable at playing Cedar Walton's music, which was the bulk of their band book. Saw both these saxists with the band and it was great. Coleman had a somewhat looser quartet approach.

This morning in the car: Now during a btreak: What a great album! Grady Tate kicks ass. Burrell's Verve sessions should have gotten the Mosaic treatment.