mikeweil

Jim, can you delete this thread so the boys can have fun everyday without being afraid of repeating themselves? (And stay away from the serious discussions, as a side effect?)

I have to correct myself and apologize for my fast response - we're both right regarding # 4, the Bix solo. Bix himself recorded only this one piece, In A Mist. Jess Stacy recorded a medley of In The Dark & Flashes for British Parlophone in 1935, and Candlelights for Commodore in 1939. Ralph Sutton recorded all four pieces as a suite for Commodore in 1950. I also have complete recordings by Kenny Werner (Finnadar, 1978, reissued on Atlantic CD), and Italian classical pianist Marco Fumo (Dynamic, 1987), the latter in a very interesting recital he calls Last Time Rag, that ranges from Scott Joplin and Jelly Roll Morton over Bix and Fats Waller to Debussy and Stravinskij and 1980's composers. Any other recordings any board member knows about? (Thanks, as always!)

Please read my latest post on the Master List thread for info. Thanks! mike weil

Once read a story about Gerry Mulligan cashing in the concert fee for the whole band in advance, and when the band walked on stage, there was one missing - Mulligan himself, who had boarded a plane back to New York with the band money. Now that is evil ... really turned me off.

Actually, I heard he liked it because he could hear himself better. Why do you think I didn't know this? Of course, I thought you knew it. I figured that's why you asked it. It's the stupid question thread, but I thought maybe someone out there didn't know the story. Plus, I'm trying to up my post count.... Do you frequently feel this need to justify yourself?

Actually, I heard he liked it because he could hear himself better. Why do you think I didn't know this?

Because there's no way they wanna the hell have anything to do with that guy!

Why didn't he have his cheeks repaired? Why didn't someone get the idea to pinch his cheeks with a needle?

Now that we know how couw finds all this stuff - why does he look for it?

Who is this Jim Sangrey?

Why didn't Dizzy Gillespie have his trumpet repaired?

Why do you ask?

This Don Ellis site is nice, but not up to date: The list omits the Legacy reissue of Electric Bath I posted above. Then there is a CD with the soundtrack of "French Connection", music that was not on the Connection LP, but this is only for diehard Ellis collectors. Responding to Chuck's comments: You're probably right. It was more of a speculation on my friends' side. I'd rather think that Columbia doesn't see too much sales potential - that they didn't continue after Electric Bath and Koch doing Shock Treatment suggests this. Bob Belden, who produced the Bath reissue, reducing his activities as a reissue producer after his automobile accident, may be another factor.

According to Bruyninckx he's only on that one track, if you know better, can you please post details, for my Lucky Disco? Thanks. Part of that LP, BTW, was on CD, Verve 516107-2. According to Bruyninckx there were Japanese reissues for both LPs, but only Soul Finger saw a Trip reissue. The Soul Finger - again, according to Bruyninckx - had one track with Lucky in a quartet setting, the remainder was a larger group with Lee Morgan, Freddie Hubbard, Gary Bartz, John Hicks and Victor Sproles.

- but: that's an old joke, Jim ..... and you wouldn't be able to lift that glass with one hand, would you? If so ....

Consider how many blurbed tune titles came about by misunderstanding: Monk, when asked for a tune title in a studio, mumbled "..... worry later", which the egineer wrote down. It was, of course, San Francisco Holiday. Imagine a strung out Sonny Clark mumbling to Rudy Van Gelder "a melody written for Cannonball by ... what was his name?" - and you have "Melody for C." notated as a working title. Later, noone cares to research it, and there you have a new Sonny Clark tune. I bet, until this thread, nobody noticed.

For a first class Monk Tribute, try to get the 4-CD box on DIW-395/398, Interpretations of Monk, documenting a concert at Columbia University on November 1, 1981, produced by Verna Gillis. Each of the four hour-long sets is led by a different pianist: Muhal Richard Abrams, Anthony Davis, Barry Harris, Mal Waldron, with two different rhythm teams - Richard davis with Ben Riley or Ed Blackwell - and a frontline of Don Cherry, Steve Lacy, Charlie Rouse and Roswell Rudd. What more can you ask for? And they do not duplicate tunes! AMG link AMG link

Haven't heard this so far, unfortunately, being the Lucky collector I am, but I know Lucky plays only on one track, Spot Session - the title says it all.

Another thought: This is the first evidence of John Lewis' longterm collaboration with elegant guitar players: Jim Hall, who also was on some Atlantics recorded soon after, Barry Galbraith, and since the 1980's, Howard Collins. Listen to how beautifully Lewis and Hall interact; compare with the Hall/Evans collaborations and marvel at the great difference in conception these two master pianists elicited from Hall.

No bonus material existing. This was a one-day-in-the-studio affair on occasion of an MJQ stay in California.

I think all of John Lewis' albums as a leader are worth listening, most of them are underrated, this one here tops the list. Too much has been made of the tension between Jackson and Lewis - that Lewis could swing, but in his own elegant way, is evident from many an album - a recent AOW, Sonny Stitt Plays Bird is a prime example. I second the recommendation on the albums jazzman4133 has mentioned. To these ears, Lewis is at the very top of the list of jazz pianists with a beautiful touch and elegance. Except for two 78's in France, this was his debut as a leader!!! What a helluva debut!!! The trio version here of I Can't Get Started to me is the most beautiful of that tune ever recorded, alongside Prez'. p.s. Can anbody provide me with a CDR of P.O.V.?

Maybe Sonny remembered the tune from a Cannonball record but couldn't recall the title - it is also on Victor Feldman's CD "Merry Olde Soul" (Riverside, now on OJC CD), recorded in January, 1961. Sonny was heavily addicted and could use some royalties ... look at his face on the cover of Leapin' and Lopin'. His tune sounds like a simplified version recalled from memory - both versions with composer Feldman have more embellishments in the melody.

Berstein has a very nice warm sound and really knows how to deliver a melody. I must admit I like him better with organ than with piano. All the Melvin Rhyne CDs are great, he fits in there beautifully. Not to speak of the many Larry Goldings Trio records ... Lou Donaldson himself mistook him for Grant Green when he first heard Berstein on a record!

That seller needs some dough badly!

Agreed - influence never works one-directional. And it may not be overtly musical.