Daniel A

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Well, I missed the whole thing. I understand if nobody wants to quote Wingy verbatim, but what was the spirit (which I can more or less imagine anyway) of his remark on Jutta?

Though it was years since I heard any of his records, Gulda's jazz playing didn't do much for me back then. I'll refresh my mind by checking out a solo album where I know he does a few Corea tunes. Still, the duo with Corea himself might have come out more successful, I admit that I haven't heard that one. I saw it at 3.50 Euro a while back in a record shop here, so it might not be worth as much as he's asking.

I just got to hear Bud Shank's "Bud Shank and the Sax Section" from 1966, a somewhat commercial effort (3 minute cuts, sometimes no solos), but with very tasteful arrangements for the six saxophone frontline by Bob Florence. A very fine solo-less 2 minute version of 'Take Five' and (believe it or not) 'Summer Samba' are among the highlights. I've never heard much about Bob Florence, but I'd like to know if anyone could recommend any other records featuring his arrangements.

Eddie Henderson - Mahal (Capitol, 1978) Jan Hammer - Malma Maliny (MPS, 1968) Jon Hendricks - Salud! João Gilberto Originator of the Bossa Nova (Reprise, 1963) Jan Allan - Jan Allan 70 (Phono Suecia, 1969) Wayne Shorter - Alegria

This is an extract from Belden's part of the liner notes to the 3 CD Lighthouse set: "Shortly after Lee Morgan's death, a few bootleg LP's were issued that were rumored to be outtakes from the 'Live at the Lighthouse' dates for BLUE NOTE. In 1991, FRESH SOUNDS records from Spain issued two CD's that contained all of the music from the two bootleg LP's and claimed officially that these tracks were recorded at the "Lighthouse" during Lee's stand in July of 1970. Most collector's took this as gospel. In the summer of 1993, I went into the BLUE NOTE vaults to confirm this rumor, and found out that the FRESH SOUNDS CD was not from the unissued material still held in the BLUE NOTE vaults. A phone call to Bennie Maupin unraveled the mystery surrounding these bootleg issues. Lee's band was on a swing out to the west coast. The group performed at the 'Both/And' in San Fransisco for two weeks prior to opening in Los Angeles at the 'Lighthouse'. During this stand in San Fransisco, a local radio station recorded two sets for broadcast at a later time. It was from this broadcast that these tapes were circulated into the bootleg community." I thought a way to find out if the Fresh Sound set really was recorded at the Lighthouse was to listen to the piano sound. Out-of-tune pianos never sound exactly the same. Now, it's very difficult to tell, because the sound of the Fresh Sound recording is so different from the Blue Note set, but at just a quick listen I think the pianos sound curiously alike. Perhaps closer examination will reveal something else.

At least those I've bought two times!

Ehem... Thank you all for your comments so far! I suppose I can safely get rid of the Coleman CD. A much as I like the thought of keeping everything, trading is a way to get to hear new albums even when under financial strain. For instance, I traded away a bunch of old useless vinyl (oops! ) for Wayne Shorter's 'Alegria' the other day. If I'm going to keep anything it might perhaps be 'Illumination' after all. Regarding 'The Rumproller' I'll probably seek out a vinyl copy some day.

I suppose you all at some point have regretted selling or trading off a particular LP or CD; at least I have a few times. And sometimes the wish of hearing it again makes me considering getting it a second time. Either the album in question is very hard to get (and in that case I'm still lamenting the loss) or if it's generally available I've had to buy it again (one or two times I've been saved by receiving it as a gift). At the same time I feel that it's rather pointless to sit on some music which I practically never listen to, except when I'm playing it through to see if I can trade it away, and decides that "well, it wasn't too bad after all...". And then the CDs are collecting dust for yet another year until I think of selling them again... But now I've finally decided that I'll get rid of a few CDs anyway. I'm holding on to the OOP stuff, so the reaons for trading these away are purely musical. Now I'm asking you, which of these do you think I'll regret trading away? Wayne Shorter / Herbie Hancock '1+1' For some reason I never feel in the mood for this one. But Wayne's soprano isn't always easy on the ear... Lee Morgan 'The Rumproller' Not that this is second rate, but I'd rather listen to 'The Sidewinder' or perhaps 'Una Mas' than 'The Rumproller' any time. The sound of the RVG doesn't help either. A pity that there are two splendid Shorter tunes in there, though... Barry Harris 'Bullseye' A rather recent reissue, but I don't think I'll grow to like it. Dorham is erratic as he could be, McPherson is nice but I think Harris is heard to greater advantage elsewhere. Freddie Hubbard 'The Black Angel' The 17 minute 'Space Track' is not the idiom I think Hubbard fits best in. A year later he was stylistically in a different bag alltogether. There are one or two tracks he sounds more comfortable on, but this seems like a waste of time when you can put on any of his Blue Notes instead. On a sidenote: Is it only on my system the room starts vibrating heavily from the bass exactly 5 minutes into 'Eclipse'? Elvin Jones / Jimmy Garrison 'Illumination' The personnel is listed as Prince Lasha, Sonny Simmons, Charles Davis, McCoy Tyner, Jimmy Garrison and Elvin Jones. Let's just say that I appreciate their respective playing on this album in the reverse order. I find tunes á la 'Aborigine Dance in Scotland' to be slightly enerving. Jaki Byard Quartet 'Live!' As much as I like Joe Farrell, I seldom listen to this one. I think the problem is that I can't really absorb Jaki Byard's piano playing. The Piano at the Turnpike could've used some tuning prior to the recording, too. Ornette Coleman 'Forms and Sounds' Well, this one is OOP, but I saw two used copies for next to nothing last week, so it doesn't seem much of an investment. One of the few albums I've never even managed to listen through completely. A string qurtet and a woodwind quintet with Ornettes trumpet interludes. Does anyone really enjoy this music? What do you think? Perhaps I should listen to nothing but these CDs for the next month, and I'll realize I can't live without them!

Well, so far no other than our nationality. But we may have been indoctrinated not to forget it. The newspapers even used to have at least one fake headline on the front page, allthough it seems to be less of a practise nowadays.

BTW, what day is it today?

I doubt it will ever come back at BN:s site, but here it is, starting with part 1: Author Topic: Jazz Chronological Classics Bev Stapleton Member Member # 27 posted January 22, 2000 03:06 AM -------------------------------------------------------------------------------- I've recently become aware of this astonishing label. For years I've seen their discs around but assumed they were cheapo-air shots etc. Recommendations on this board made me go out and buy a few and I have been hugely impressed. I like the decision not to include alternate takes (these seem to be readily available on other labels for the enthusiast who enjoys listening at that close a level). The strictly chronological approach can produce some odd arrangements - Stardust Part 2 before Stardust Part 1 on the Mary Lou Williams 1944 disc for example. Soundwise, they've proved much better than I'd anticipated given some adverse references in the Penguin guide. Not up to the standard of some other labels but perfectly listenable (depending on the source discs of course). I also picked up a catalogue the other day which is a gold mine in itself - full track list for discs, personel, indications of vocal tracks etc. If you are trying to follow the work of a particular artist its a marvellous way of getting a full track listing. I'm sure there are many of you who know this series well. Any recommendations, warnings etc? -------------------------------------------------------------------------------- Posts: 3103 | From: Worksop, Nottinghamshire, UK | Registered: Mar 99 | IP: Logged philip Member Member # 405 posted January 22, 2000 05:46 AM -------------------------------------------------------------------------------- Bev, like you I have been wary of this label because of the comments in the Penguin guide over transfer quality, etc. The Jimmie Lunceford 1930-34 disc was a disappointment. The best known track, "White Heat", seems to have been transferred from an old electronically enhanced LP, but then I am a stickler for decent sound. The rest of that disc seems average, lacking the sparkle one expects from John RT Davies. It is probably true to say that my perfectionism has reduced my access to earlier Jazz classics... -------------------------------------------------------------------------------- Posts: 1657 | From: Derbyshire, UK | Registered: Sep 1999 | IP: Logged Chris Albertson Member Member # 551 posted January 22, 2000 06:14 AM -------------------------------------------------------------------------------- Apropos sound quality and collectors. In the early Seventies, when I produced the complete Bessie Smith LP reissue for Columbia, engineer Larry Hiller and I spent 2 1/2 years working (5 nights a week) on the sound. It paid off, for (using a new method devised after much experimentation by Larry) we were able to virtually eliminate the surface noise. This, we thought, ought to pleaee the collectors. We were wrong. A group of them, known as the Blues Mafia, wrote me a letter bemoaning the absence of surface noise! I guess you can't please everybody. Larry was very happy to receive his Grammy, however. -------------------------------------------------------------------------------- Posts: 2989 | From: NYC - New, temporarily downgraded, USA | Registered: Dec 1999 | IP: Logged Bev Stapleton Member Member # 27 posted January 22, 2000 09:53 AM -------------------------------------------------------------------------------- I can believe it, Chris! Your anecdote made me chuckle. -------------------------------------------------------------------------------- Posts: 3103 | From: Worksop, Nottinghamshire, UK | Registered: Mar 99 | IP: Logged Stefan Wood Member Member # 188 posted January 22, 2000 06:19 PM -------------------------------------------------------------------------------- Bev, regarding the Classics, label, I agree that they are a good reissue company. I too just started to buy their label, starting with Don Byas and Howard McGhee, and am now working on Coleman Hawkins (thanks to the bboard group's suggestions). As much as I like reissues, there have been times where I hate the repetition of hearing two, three, even four versions of the same song in a row. So far, the Classics cds that I have bought are good sounding and have plently of tracks to fill up a cd. I wish they could have more extensive liner notes, but that's a minor issue. The best is that they have an extensive catalog of pre 1950 jazz artists -- enough to browse and explore. I'm looking at Charlie Shavers next..... -------------------------------------------------------------------------------- Posts: 1255 | From: Chevy Chase, Maryland USA | Registered: Mar 99 | IP: Logged Bev Stapleton Member Member # 27 posted January 23, 2000 03:38 AM -------------------------------------------------------------------------------- They have the advantage that they are so far down the line of cataloguing pre-1950. A few weeks back I bought the Frog McKinney Cotton Pickers discs. These are superb transfers (like the JSP Armstrongs), better than Classics. However, its much harder to work a coherent collection together. Not being an audiophile I find the Classics discs fine. -------------------------------------------------------------------------------- Posts: 3103 | From: Worksop, Nottinghamshire, UK | Registered: Mar 99 | IP: Logged Jason Drake Member Member # 602 posted January 24, 2000 01:28 AM -------------------------------------------------------------------------------- I have just started to get into this label's output. Like other's I thought it was just a cheapo deal (partly due to the covers, which it has to be said aren't that hot) but am now finding it a great source of pre-50's jazz. I'm wondering if, as the 50 year copyright expiration time line passes through the years 1950, 1951 etc, they might even start to re-issue some of the classic BN stuff ? Once the copyright has expired do they need BN's approval to do this ? The last time I was in Ray's Jazz Shop, in London, they had a complete wall display dedicated to the label and it seemed pretty well stocked. I think that Lon would have been in seventh heaven! I was wondering how much this label costs in the US. The US online sites seem to charge high prices for them. If someone gives me an example I'll compare it to some of the euro sites, which might prove cheaper even with shipping costs. Bev, if you want a recommendation, I'm listening to #648 Horace Henderson 1940, which is v. good. He seems to have been overshadowed by his brother, Fletcher, which, on the evidence of this disc, is unfair. It swings very nicely. -------------------------------------------------------------------------------- Posts: 280 | From: London, England | Registered: Jan 2000 | IP: Logged Lon Armstrong Member Member # 137 posted January 24, 2000 05:18 AM -------------------------------------------------------------------------------- I think the covers are quite nice. Like 78 rpm labels, with a photo. These cost retail in the stores about 15.99 US. You can usually get them for about 12.99 to 13.99. Classics ALREADY have been reissuing Blue Note sides; check out the Ike Quebec disc, among others. I find that the latest releases sound quite nice, compared to the earlier ones, but none are quite as good as the Davies transfers. Those McKinneys on Frog are da bomb. -------------------------------------------------------------------------------- Posts: 10027 | From: Austin, TX USA | Registered: Mar 99 | IP: Logged Swinging Swede Member Member # 197 posted January 24, 2000 05:33 AM -------------------------------------------------------------------------------- Jason, Classics has already issued a lot of BN stuff, mostly from the pre-bop era, like Sidney Bechet, Edmond Hall, James P. Johnson etc., but also the McGhee/Navarro Boptet session from 1948 on "Howard McGhee 1948". So you're right, there's nothing stopping them as the years roll on. If there is an unreissued session from the 50's you want to have, you just have to count the years that are left until Classics (or some other label) can reissue it. Of course they have no access to the BN vaults, so they can only take the best source available. And yes, the Horace Henderson set is nice. Many have considered him to be more advanced both as pianist and as arranger, but he never gained his brother's fame. I've also read that he detested being known only for being Fletcher's brother. Don't forget the great session made in 1933 under his name, where he fronted his brother's orchestra. It's out on "Coleman Hawkins 1929-1934". -------------------------------------------------------------------------------- Posts: 1484 | From: Sweden | Registered: Aug 99 | IP: Logged John L Member Member # 123 posted January 24, 2000 08:27 AM -------------------------------------------------------------------------------- Chronological Classics is doing a great service issuing these all of these sides, as the labels themselves do not show much interest. Chris A: That's a great story about surface noise. Maybe it is the producers of the original records that feel so strongly. After all, they are getting so many composer royalties on blues compositions for which the surface noise was their only contribution! -------------------------------------------------------------------------------- Posts: 1200 | From: Capital of world madness DC | Registered: Mar 99 | IP: Logged Jason Drake Member Member # 602 posted January 24, 2000 09:55 AM -------------------------------------------------------------------------------- This label can be got cheaply (for EU residents) from www.boxman.com. They range from 7 usd to 11 usd, with shipping about 3-4 usd. The site is terribly laid out and it can take a while for them to ship, but at 7 usd per disc it seems worthwhile. For some reason, non-EU people are forced to use a different 'browser' and the prices seem to be higher. But it's so hard to use that I have to say I've run out of patience trying to do a proper price comparison. -------------------------------------------------------------------------------- Posts: 280 | From: London, England | Registered: Jan 2000 | IP: Logged Bev Stapleton Member Member # 27 posted January 24, 2000 10:41 AM -------------------------------------------------------------------------------- I've used Boxman for a couple of Classics discs - they're a bit slow but deliver at good prices. I agree their layout is hopeless but given the prices worth persevering. I think I'll use them for the Spirituals to Swing discs in the near future. The Classics discs covering Blue Note I look forward to are the ones that will cover the 'Amazing Bud Powell' sessions. I bought disc one very ealy in my collecting days and have found the alternate takes infuriating - 3 of Un Poco Loco! Now I appreciate that the real Bud fan and the jazz historian want the lot but I could have done with a one disc distillation. I've never bought the two Monk records for this reason although I have a Blue Note compilation that takes individual songs with no alternates. I came across the Classics wall display in Rays a couple of weeks back, Jason, and walked out £70 poorer. It could have been much worse! As I'm just starting to investigate Fletcher Henderson Horace may be a bit further off for me. I did pick up the first Teddy Wilson disc which has a mass of Billie Holiday vocals that are not on the Columbia vinyl I bought in the early 80s including two wonders in 'What a Little Moonlight Can Do' and 'Miss Brown to You.' I think I might pursue the Wilson and Holiday issues as a way of converting my Holidays to CD. Any views on the Classics Nat Cole discs? -------------------------------------------------------------------------------- Posts: 3103 | From: Worksop, Nottinghamshire, UK | Registered: Mar 99 | IP: Logged Lon Armstrong Member Member # 137 posted January 24, 2000 11:06 AM -------------------------------------------------------------------------------- The first few Cole discs in the series reissue material that I have found on cd nowhere else. . .After that I have lost interest in them, as I have all the material elsewhere (I am one of those with the Cole Mosaic.) But this is an excellent series of recordings, the Cole ones, and worth following. . . . I am one of those Powell nuts, but I noticed yesterday that Indigo has a great collection of Powell called "Early Powell" that has sides with Cootie Williams (not to be missed) and the earliest under his own name. All the Indigoes I have heard have had good sound, so that should be a low budget possiblity for you. -------------------------------------------------------------------------------- Posts: 10027 | From: Austin, TX USA | Registered: Mar 99 | IP: Logged Anthony Member Member # 17 posted January 24, 2000 03:39 PM -------------------------------------------------------------------------------- Bev, I wouldn't ignore the Blue Note Monk alternates for long. In fact "alternates" is probably not an appropriate term in this case, as these are more like variations. Some of the heads are given completely different treatments than they are given in the master takes. Just something to consider. Anthony -------------------------------------------------------------------------------- Posts: 101 | From: | Registered: Mar 99 | IP: Logged Chris Albertson Member Member # 551 posted January 24, 2000 07:36 PM -------------------------------------------------------------------------------- Re your tongue-in-cheek surface noise theory, John L., that's funny, but, sadly, not so distant from the truth. Actually, the guy who headed up the Blues Mafia was the late Nick Perls, whose label, Yazoo, you may have come across. -------------------------------------------------------------------------------- Posts: 2989 | From: NYC - New, temporarily downgraded, USA | Registered: Dec 1999 | IP: Logged John L Member Member # 123 posted January 25, 2000 01:03 AM -------------------------------------------------------------------------------- Yes, I know the label well. But I don't know Nick Perls. At any rate, you did a superb job with the Bessie Smith collection, with the sound and the liner notes. -------------------------------------------------------------------------------- Posts: 1200 | From: Capital of world madness DC | Registered: Mar 99 | IP: Logged Jason Drake Member Member # 602 posted January 25, 2000 01:32 AM -------------------------------------------------------------------------------- Bev, where did you get the catalogue from ? I've tried to find a website for them but no luck. -------------------------------------------------------------------------------- Posts: 280 | From: London, England | Registered: Jan 2000 | IP: Logged Scott Lasser Member Member # 185 posted January 25, 2000 09:57 AM -------------------------------------------------------------------------------- All -- I bought the early releases from that label from our Allegro sales rep... and they sold astonishingly well! (Nice thing about Tower: they let me indulge myself.) I'm pretty sure you can find a complete listing of the series through Allegro, if not an entire catalog. Scott Lasser P.S. The J.C. Higginbotham is terrific. -------------------------------------------------------------------------------- Posts: 1225 | From: St. Louis, Missouri | Registered: Jul 99 | IP: Logged Bev Stapleton Member Member # 27 posted January 25, 2000 10:51 AM -------------------------------------------------------------------------------- Jason, I got mine from Jumbo Records in Leeds. I suspect you'd need to contact a store that has a fair selection. There's a place in Norwich called Jazz 'n' Blues Records advertising in this months Jazz Review about its ability to supply all Classics at £8.50 or 6 for £50 (or, is it wittily says, "If you are rich you can have all 600 for £4 500"). You might get a catalogue from them. Their telephone is 01603 467777 (email Jazzjerry@aol.com). I've never used them so I'm not sure what they are like. If you go into www.CDNow.com and look up Jazz Chronological Classics under 'label' you'll get an alphabet. Click on the letter you're after and you'll have the available names and can link on to a full listing of tracks. Not quite as nice as a catalogue you can ring to your hearts content but useful... -------------------------------------------------------------------------------- Posts: 3103 | From: Worksop, Nottinghamshire, UK | Registered: Mar 99 | IP: Logged marvin g Member Member # 470 posted January 25, 2000 04:32 PM -------------------------------------------------------------------------------- Yes I have quite a few of those Classics CD's especially the neglected swing bands. I've been looking for early stuff by Buddy Johnson,Helen Humes,Jimmy Luncford.Chick Webb minus Ella,Teddy Wilson minus Billie,Cab Calloway and a few other Harlemites of that era. I too like those covers it really fits the era of the music. -------------------------------------------------------------------------------- Posts: 1009 | From: Chicago | Registered: Oct 1999 | IP: Logged Lon Armstrong Member Member # 137 posted January 26, 2000 05:49 AM -------------------------------------------------------------------------------- Marv, if you see it grab the Hep Records cd of Chick Webb, or the Decca cd; these reissue early Webb material without Ella. Fine stuff. Also the two Chronologicals under Webb's name just about reissue all the sides without Ella. The Hep Records series on Teddy Wilson is excellent and reissue chronologically all the sides with and without Billie in the best sound I have heard, including piano solos. This is marvelous music, well presented on cd. I have not bought any of the Calloway Chronological Classics, but imagine that they are a good way to travel through the early material. The two items under Cab's name in the Best of the Big Band series from Columbia, if still in print, are good choices, although from the later thirties and early forties. . . . -------------------------------------------------------------------------------- Posts: 10027 | From: Austin, TX USA | Registered: Mar 99 | IP: Logged alankin Member Member # 220 posted January 30, 2000 02:58 PM -------------------------------------------------------------------------------- I noticed that CyberMusicSurplus has a couple dozen Chronological Classics for 7.99. Here are the titles: ALIX COMBELLE 1940-1941 ALIX COMBELLE 1942-1943 BESSIE SMITH 1925-1927 BLUE LU BARKER 1938-1939 BOOTS & HIS BUDDIES 1937-1938. EDDIE "LOCKJAW" DAVIS 1946-1947. ERROLL GARNER 1944, VOL 2 FATS WALLER 1935, VOL 2 GARLAND WILSON 1931-1938 JAMES P JOHNSON 1928-1938 JOE MARSALA 1936-1942 MIDGE WILLIAMS 1937-1938 MILLS BLUE RHYTHM BAND 1936-1937. PUTNEY DANDRIDGE 1936 RICHARD M JONES 1923-1927 RICHARD M JONES 1927-1944 SIDNEY BECHET 1941-1944 STAN KENTON 1947 TEDDY HILL 1935-1937 TOMMY DORSEY & HIS ORCH 1936 WILLIE LEWIS 1936-1938 WILLIE LEWIS 1941 Some well-known people & some I've never heard of. Comments, anyone? The site is--CyberMusicSurplus Alan go.to/jazzmatazz [This message has been edited by alankin (edited January 30, 2000).] -------------------------------------------------------------------------------- Posts: 1325 | From: Philadelphia, PA | Registered: May 99 | IP: Logged Swinging Swede Member Member # 197 posted January 30, 2000 06:25 PM -------------------------------------------------------------------------------- Some quick notes here. I will go into more length on some of the names in my upcoming Swing era post(s) I promised Bev. ALIX COMBELLE The French Coleman Hawkins, who sometimes played great but sometimes got a bit silly in his solos. The two volumes listed mostly contain big band tracks recorded during the German occupation. Actually, as far as I remember, I thought the first volume ”1935-1940” (not on this list) was the best. BESSIE SMITH The most famous blues singer during the twenties, but you knew that already. BLUE LU BARKER Singer who I think was married to guitarist Danny Barker. I haven’t heard this one myself, but from what I’ve read she was just a so-so singer, but the sessions include many wellknown swing musicians. BOOTS & HIS BUDDIES Unlike most other territory bands, this Texas-based swing orchestra recorded quite a bit. This is the second of two volumes. One session is unfortunately marred by a trumpet section badly out of tune, but otherwise this was a pretty good band, well worth checking out. EDDIE ”LOCKJAW” DAVIS His first recordings. Has the famous sides with Fats Navarro, plus some rare sessions for obscure labels. A good buy. ERROLL GARNER Well worth getting for the ten track session that was his commercial debut. The other selections are from Timme Rosenkranz’s apartment sessions, that actually first were issued on Blue Note in the early 50’s, but which unfortunately have very substandard sound. FATS WALLER 22 tracks with his popular Rhythm, which recorded an unbelievable amount of numbers 1934-42. Remember that there are several lables that have issued the complete Rhythm recordings, of which Classics is one. GARLAND WILSON American pianist, whom Aric wouldn’t have liked, if you know what I mean... He was discovered by John Hammond but settled in Europe in 1932. Mostly solos, the value of which has been debated. Some have considered him one of the great jazz pianists, others not so. JAMES P. JOHNSON The second of Classics’ Johnson Cds mostly has pre-Depression recordings, both piano solos and small bands with many famous names. Also has the Pee Wee Russell’s Rhythmmakers session from 1938 (including Freddie Greene’s only recorded solo!). A very interesting set. JOE MARSALA Clarinetist Joe Marsala for many years led the house band at the Hickory House, where many famous musicians used to come to jam. These recordings basically are small band swing with a Condon touch. One interesting thing is the use of harp on some of the sessions, another that these sessions include the first recordings of two great drummers, Buddy Rich and Shelly Manne! Recommended. MIDGE WILLIAMS Singer about whom little is known. There are a lot of good swing musicians backing her though, including early versions of what would become the John Kirby Sextet. MILLS BLUE RHYTHM BAND Great early swing big band, unduly obscure today because of its anonymous name. In this volume, the last of five, Lucky Millinder was the leader, and the musicians include Henry ”Red” Allen, Charlie Shavers and Harry ”Sweets” Edison on trumpets, J.C. Higginbotham and Wilbur de Paris on trombones, Tab Smith and Joe Garland on reeds, Edgar Hayes and Billy Kyle on piano, Lawrence Lucie and Danny Barker on guitar, and future Kirby drummer O’Neil Spencer. Essential! PUTNEY DANDRIDGE One of the many Fats Waller clones record companies tried to come up with in the mid-30’s, in the wake of the huge success of Waller’s Victor recordings. Dandridge, who recorded for Vocalion, was no Waller, but his recordings have many great sidemen. This volume has Teddy Wilson, Cozy Cole, Henry ”Red” Allen, Joe Marsala, Clyde Hart, Doc Cheatham and Sidney Catlett among others. The first volume, btw, has Roy Eldridge, Chu Berry and Buster Bailey among others. RICHARD M. JONES Jones may today be best remembered for having been the producer of Louis Armstrong’s Hot Five and Hot Seven recordings, but he was actually a good pianist in his own right, who recorded many sessions in the 20’s. For lovers of 20’s jazz these two volumes offer many little-known sessions to check out. The latter disc also has a few scattered later sessions, including a rare non-Basie appearance by Herschel Evans! SIDNEY BECHET This volume has his last two Victor sessions from 1941, a V-Disc session from 1943, a Blue Note session from 1944 (Including ”Blue Horizon”) and a 1944 session under pianist Cliff Jackson’s name. STAN KENTON Kenton’s 40’s recordings are his greatest in my opinion. This volume has a mixture of ‘progressive jazz’, swinging charts like ”Capitol Punishment” and ”Minor Riff”, and vocal features for June Christy. Essential in one form or another. TEDDY HILL This set has the complete recordings of this big band, which toured Europe in 1937. The first session has Roy Eldridge and Chu Berry, and the last has the first recorded solo by Dizzy Gillespie! Other musicians include Dickie Wells and Russell Procope. Need I say more? TOMMY DORSEY Although TD’s greatest days lay ahead, this early incarnation of his big band is not without interest. Although most of the tracks are vocals, there are also several instrumentals in a Bob-Crosbyish dixieland style, later totally abandoned by Dorsey. The orchestra also had a great asset in tenorist Bud Freeman, the only pre-Prez tenorist to come up with an original style not dependent on Coleman Hawkins. TD himself was a master trombonist, and these recordings are not at all as square as some detractors would have you belive. WILLIE LEWIS This was a most unusual American big band, in that all its recordings were made in Europe! Among the sidemen were Bill Coleman on trumpet and Herman Chittison on piano. There is also a first volume ”1932-1936”, which has a session where Benny Carter sits in and also contributes six arrangements. Well worth checking out for the swing fan. Mostly lesser-known entries in the Classics catalogue there, but a lot of good music still! -------------------------------------------------------------------------------- Posts: 1484 | From: Sweden | Registered: Aug 99 | IP: Logged alankin Member Member # 220 posted January 30, 2000 06:53 PM -------------------------------------------------------------------------------- Thanks for the detailed information! I'm impressed by how much people know about the music. I'll probably try a few of these titles. (To my wallet's displeasure.) -------------------------------------------------------------------------------- Posts: 1325 | From: Philadelphia, PA | Registered: May 99 | IP: Logged Swinging Swede Member Member # 197 posted January 30, 2000 07:14 PM -------------------------------------------------------------------------------- Yeah, jazz interest and wallets don't go well together! I've noticed that too! -------------------------------------------------------------------------------- Posts: 1484 | From: Sweden | Registered: Aug 99 | IP: Logged Lon Armstrong Member Member # 137 posted January 30, 2000 07:20 PM -------------------------------------------------------------------------------- That Boots and his Buddies will surprise you. The second volume is disappointing, mainly because the first volume is AMAZING. San Antonio band, playing and swinging like mad. -------------------------------------------------------------------------------- Posts: 10027 | From: Austin, TX USA | Registered: Mar 99 | IP: Logged Bev Stapleton Member Member # 27 posted January 31, 2000 10:30 AM -------------------------------------------------------------------------------- Looking forward to your Swing post, Swede. The last one was invaluable. Have picked up three Teddy Wilson Classics of late which are so good! I've known the Holiday stuff for years but have been totally won over by the other stuff on these discs. I could easily become obsessional on Wilson, I think. Any comments on his later music? What's the duo with Lester Young from the 50s like? I've always stayed clear due to Young's reputation as being unreliable in the 50s. Also, Fats Waller. I bought a great compilation before Xmas and someone mentioned then I'd want more. Yes, you were right. What period is best to start in? I'm not sure whether to investigate the RCA discs or go with the Classics. And a curio. At the end of the Chu Berry Classics disc there are two tunes broken into part 1 and 2; both last for 2 minutes for each part and are cut off in their prime - no ending. It sounds as if the playing was recorded on two machines with a slight overlap. What was this all about? While we're at it I've always loved the sound of 40's music since first hearing Parker. Any recommendations on the Don Byas (someone drew my attention to a 1945 recording of Laura) and Howard McGhee front? And Lucky Thompson? I've heard them all in passing on other peoples discs and been impressed. And who should I be listening to guitar-wise from this period? I know a lot of Christian and would put 'Swing to Bop' somewhere near the top of all time favourite pieces. What's comparable? Sorry. That's abou 8,000 questions in one post. I'd better go and mark some exam papers! -------------------------------------------------------------------------------- Posts: 3103 | From: Worksop, Nottinghamshire, UK | Registered: Mar 99 | IP: Logged Lon Armstrong Member Member # 137 posted January 31, 2000 11:04 AM -------------------------------------------------------------------------------- Well, I think that the Teddy Wilson and Lester Young quartet date on Verve is among the finest of Pres' Verve work; any band with Ted, Pres, Gene Ramey and Jo Jones is going to have a balance of fine moments. I have all the Chronological Classics of Don Byas, and can recommend each and every one. The latest two released are exceptionally nice, but they are all excellent. Some of the best sides are on a Savoy/Denon cd that is not too hard to find still: Jam Party. I believe I told you that you would be clamoring for more Fats Waller. The RCA series of discs are excellent; the sound is better than most of the Classics I think, and there are liner notes which are quite useful. However, in typical mysteriousness, not all volumes are in print. I actually have this material in the fourteen (!) volumes of Fats Waller and his Rhythm on King Jazz, recommended if you can find them, and the piano solos on RCA Bluebird, and a few other discs here and there (including the great material recorded in London which is on the DRG label.) As for guitar. . . A lot of what I would recommend is not easy to find. The forties and early fifties Carl Kress sides on Capitol I really really like, but they are not to my knowledge on cd except in the Capitol Mosaic box. And I think you would like the forties and early fifties sides of T-bone Walker, who I think of as jazz but most of the world claims as blues; he is one of my most favorite guitarists of this period, and other favorites are John Collins, Tiny Grimes, and the two Moore brothers, Oscar who played with the Nat King Cole Trio, and Johnny who was the leader of Johnny Moore and the Three Blazers, which featured Charles Brown on piano and vocals. Also a favorite of mine is Billy Bauer's work with the Lennie Tristano groups and those of Tristanoites. . . . [This message has been edited by Lon Armstrong (edited January 31, 2000).] -------------------------------------------------------------------------------- Posts: 10027 | From: Austin, TX USA | Registered: Mar 99 | IP: Logged Chris Albertson Member Member # 551 posted January 31, 2000 03:58 PM -------------------------------------------------------------------------------- Alankin, Here are just a few notes to supplement the excellent information fornished by the Swinging Swede. SS, I hope you don't mind some input from a Dane ALIX COMBELLE He also led a memorable 1935 session with the Quintet of the Hot Club of France (Grappelli, Reinhardt,et al). And I agree, the 1937-40 sides on the Swing label are his best. BESSIE SMITH I have to agree with the Swinging Swede--she was not just great, she was the greatest of the so-called "classic" blues singers. BLUE LU BARKER Yes, she was married to guitarist Danny Barker. Not a bad singer, actually, and she had a great sense of humor (as did Danny). Her best known tune is "Don't You Get Me High." Her accompanists included Henry Red Allen, Benny Carter, Buster Bailey, Lil Armstrong, Chu Berry, and Sammy Price. BOOTS & HIS BUDDIES Led by Boots Douglas--a good but not exceptional territory band that made a series of Bluebird sessions in San Antonio, Texas, between1935 and 38. EDDIE ”LOCKJAW” DAVIS Lockjaw also recorded several tenor duo albums with Johnny Griffin for Prestige (Lockjaw's label) and Riverside (Johnny's label), and worked intermittently with the Basie band for 20 years. ERROLL GARNER Considering the enormous volume of recordings that followed, these early sessions have more historical value than anything else. BTW, Timme and I used to share an apartment in New York--he had more private Garner recordings than were issued by BN. FATS WALLER Allthe Victor recordings are available, so here technical quality should be considered. GARLAND WILSON His 1931 solo sessions were also John Hammond's first. When John learned that Garland was gay, he distanced himself from him. Garland recorded in London and Paris between 1932 and 1938. Not a bad pianist JAMES P. JOHNSON Johnson was the father of the Harlem stride piano style. Fats Waller was his disciple, and he--in turn, inspired Basie. Johnson was also Bessie Smith's favorite pianist. JOE MARSALA I have nothing to add here. He was a capable clarinetist who often surrounded himself with better musicians. MIDGE WILLIAMS Midge was probably best known for her years with Louis Armstrong's orchestra. She performed extensively in Asia, including Shanghai and Tokyo, during the early Thirties (recording a couple of tunes in Japanese). Later, back in the US, she hit the road with Fats Waller. MILLS BLUE RHYTHM BAND I highly recommend these recordings. BTW, guitarist Lawrence Lucie is still performing (he's at the Blue Note, NYC, tonight 1/31/00). PUTNEY DANDRIDGE He was also Bill "Bojangles" Robinson's accompanist for awhile. RICHARD M. JONES Jones was Okeh's head of race records, but Lil Armstrong told me that he didn't actually produce the Hot Five and Hot Seven sessions. SIDNEY BECHET I have never heard a bad Bechet recording. STAN KENTON Again, I agree with the my fellow Scandinavian; Kenton’s 40’s Capitol recordings are his best. As a matter of fact, around 1948-8 I used to take a ferry to Malmö (Sweden) from Copenhagen, just to buy coffee, chocolate, Nellie Lutcher, and Kenton. TEDDY HILL He used to be a member of Bessie Smith's touring band, but he made his name on the cutting edge of bop. TOMMY DORSEY Surely you had heard of him, right? WILLIE LEWIS He was a member of the interesting Sam Wooding big band that played in Berlin in 1925, and he toured with Sam after that, acquiring a taste for Europe. I recall buying a 78rpm on Elite Special (a Swiss label) by "Williw Lewis Und Sein Niggerband"!! [This message has been edited by Chris Albertson (edited January 31, 2000).] -------------------------------------------------------------------------------- Posts: 2989 | From: NYC - New, temporarily downgraded, USA | Registered: Dec 1999 | IP: Logged alankin Member Member # 220 posted January 31, 2000 04:35 PM -------------------------------------------------------------------------------- Thanks, Chris! -------------------------------------------------------------------------------- Posts: 1325 | From: Philadelphia, PA | Registered: May 99 | IP: Logged marvin g Member Member # 470 posted January 31, 2000 06:51 PM -------------------------------------------------------------------------------- I've been eyeballing the Clarence Williams Classics any suggestions?? -------------------------------------------------------------------------------- Posts: 1009 | From: Chicago | Registered: Oct 1999 | IP: Logged Edward Member Member # 73 posted February 01, 2000 09:25 AM -------------------------------------------------------------------------------- Marvin, you might be better off getting the Clarence Williams material presented on the two Frog ("Dreaming the Hours Away" and "Whoop It Up") and the three Collector's Classics ("Vol.1 1927-28", "Vol.2 1928", and "Vol.3 1929-30") CDs. John R.T. Davies remastered all of these discs, and I'm sure that their sound quality beats Chronological Classics'. The two Frog CDs cover (all of?) Clarence Williams' Columbia Recordings (May 1926 to February 1931), while the three Collector's Classics CDs cover Williams' recordings chronologically. There is some overlap between the two series, and you may have some difficulty tracking down the Collector's Classics (Danish label) discs - I believe that one of them is available for $7.99 from cybermusicsurplus.com . Of course, if you want all of Clarence Williams' material without the alternate takes, you can't beat the Chronological Classics series. -------------------------------------------------------------------------------- Posts: 246 | From: Southern California | Registered: Aug 99 | IP: Logged rries Member Member # 349 posted February 01, 2000 09:49 AM -------------------------------------------------------------------------------- there must be something in the air. i just started buying these titles myself, and i had avoided them for all of the reasons stated above. i was going to start a thread, but i often procratinate. the copyright question is a good and timely one. this will probably be battled in the courts in the near future. disney just got an extension on mickey and some of the early movies (imagine that), but the big fight that looms just around the corner is the presley catalog. i've checked the ike quebec date on classics and it does not duplicate alot of material from the swingtet title that was recently reissued by blue note. has anyone heard the quebec classics title. if so, i would appreciate an opinion. -------------------------------------------------------------------------------- Posts: 225 | From: cincinnati, ohio, usa | Registered: May 99 | IP: Logged Bev Stapleton Member Member # 27 posted February 01, 2000 10:40 AM -------------------------------------------------------------------------------- The way I understood it music over 50 years old is out of copyright. I can imagine a company like Disney, with all its muscle, trying to change the rules to milk Mickey further. I can't really imagine anyone wanting to fight in the courts over Fletcher Henderson et al! In a way its a pity! Does it seem like there is going to be an attempt to widen the copyright situation? Can't see much of a reason. Yes, an artist and his/her dependants, the company who financed them (I suppose!) have a claim to remuneration for a reasonable time - and 50 years seems more than reasonable! Beyond that we're just talking about big corporations wanting more money. [This message has been edited by Bev Stapleton (edited February 01, 2000).] -------------------------------------------------------------------------------- Posts: 3103 | From: Worksop, Nottinghamshire, UK | Registered: Mar 99 | IP: Logged Lon Armstrong Member Member # 137 posted February 01, 2000 10:58 AM -------------------------------------------------------------------------------- Bob, that Swingtets cd from Blue Note USA contains sessions from others as well as Ike, so that is why there are different tunes thereon. The Chronological Classics Quebec has I believe all the masters from Blue Note of the Swingtets, etc.(can't remember; it might lack one session) and four Savoy sides. The Blue Note Classics (Japan) Quebec two cds has all the Blue Note masters, and all the alternates. Shortly after I got this and the Swingtet sides I was lucky enough to receive tapes of the Quebec/Hardee Mosaic set (still never have seen the booklet or a photocopy) and then shortly after that I purchased the two Quebec and one Hardy on Blue Note Classics from Japan, and several others with material that is on the Swingtets cd, and I confess to not listening to any of the others in some time; the Blue Note Classics sound fantastic. There is also now a Definitive Records (Spain) cd that has the Blue Note masters, in what I imagine is great sound, as all their other releases sound great. -------------------------------------------------------------------------------- Posts: 10027 | From: Austin, TX USA | Registered: Mar 99 | IP: Logged Swinging Swede Member Member # 197 posted February 05, 2000 04:49 PM -------------------------------------------------------------------------------- Chris, I certainly don’t mind! Let me instead take the opportunity to say that I think that it’s great to have you on this board. Your experience in the business enable you to offer an inside perspective that I think is highly appreciated by all board members! And keep those anecdotes coming! Marvin, Clarence Williams’ most important recordings were with his Blue Five featuring Louis Armstrong and Sidney Bechet 1923-1925. On Classics those can be found on ”1921-1924” and ”1924-1926”. His later recordings from the 20’s, although less important, also had many famous guests. His recordings from the 30’s pretty much continued in the same style (Williams never making the shift to swing), although by then he stuck to a few lesser-known but loyal sidemen. I wrote a paragraph on Williams in the ”Where to start before Swing?” thread, which you may want to check. Bev, Teddy Wilson led similar sessions until 1939. Then he started a big band which included Ben Webster on tenor, but it was shortlived. (After it folded, Webster went to Ellington, and that was what really catapulted him into fame.) 1940-44 Wilson led a sextet which unfortunately was underrecorded, partly because of the record ban. In the mid-40’s he once again recorded with pick-up groups, as well as solos, now for Musicraft. Wilson’s style remained the same for the rest of his career, so you know what you get if you buy a Wilson record! Lester Young’s style changed in the 50’s, and many have seen this a sign of decline. But this view was something that bothered Young, since the change was intentional on his part, playing even sparser than before, stripping down his choice of notes to the essentials. Sure, his life was unstable in those years, and he was in a physical decline, but his recordings rarely reflect that, but rather his change in concept. Regarding Fats Waller And His Rhythm, Classics is always a safe choice, since they stay in print, and also have the other material (his piano solos, his European recordings, and on the last one, not yet issued, his V-Disc recordings). The RCA sets have much better liner notes of course, but I saw that Lon mentioned that they are not all in print, unfortunately. Another thing I can mention is that the last of them (actually the first one released) ”The Last Years 1940-1943” has alternate takes instead of master takes for several selections. The King Jazz label, judging from the Cds I have (not Waller) have good sound, and alternate takes, but they may be hard to find today. As for what Rhythm recordings to start with, I think you should start with the earliest ones (from 1934) and then you can work your way forward. Although I don’t know the specific origin of the Berry-Ventura sides, they were apparently not commercial recordings, but some sort of private recordings, only released years later on the Sittin’ In With label. Around that time portable disc cutters started to become an option (later wire and tape recorders) and it was not unusual for enthusiasts to record their heroes in this way. The sound was of course much inferior, but especially when they featured musicians who had died early, they became interesting for release anyway. The most notorious example is Charlie Parker, with whom there exist remarkably many private recordings, some unlistenable, but released anyway. It’s amazing by the way to hear how Ventura had almost completely copied Berry’s style, although there also are some specific Venturaisms one recognizes from his later recordings. By the way, Classics has recently released the first CD under Ventura’s own name, ”1945-1946”, and it’s recommended. Another famous white tenorist who was a big fan of Chu Berry in his early days is Stan Getz. Regarding Don Byas, I agree with Lon, all the Classics are recommended. After having played with Andy Kirk (1939-40) and Count Basie (1941-43), where you also can find several solos of his, he recorded an astonishing number of sessions under his own name in 1944-46, as well as being a highly in-demand sideman. In 1946 he went to Europe and didn’t return for over two decades. Although he continued to record a lot in Europe, his departure from the US scene is the reason why he isn’t as wellknown as he otherwise would have been. American musicians visiting Europe always wanted to play with him, and in my opinion Don Byas is a tenor giant. In the mid to late 40’s McGhee was often mentioned up there with Gillespie and Parker as one of the top beboppers. ‘Personal problems’ kept him largely off the scene for the next decade, thus making him a rather forgotten name. But from 1945 to 1948 he recorded a lot of sessions under his own name, showing what a great musician he was during his prime. Since he recorded for many different labels, I think it’s best to go for the Classics releases. So far there have been two, ”1948” and ”1946-1948”, and the third which should be ”1945-1946” will probably come soon. After that, his next sessions were those that were released on the 10” Connoisseurs. Let me also mention that McGhee had a famous swing era feature, ”McGhee Special” recorded with Andy Kirk in 1942, which was composed and arranged by McGhee and featured him throughout. I will write more about Kirk’s recordings in my swing era post. Regarding Lucky Thompson, he also played with Basie , in 1944-45, replacing Lester Young on the chair that Byas actually had held previously. For his own 40’s recordings, I’m waiting for a Classics release, which I think should come, but if one can’t wait, I know that there are at least two Cds on small labels called ”The Beginning Years” and ”Smooth Sailing”. I don’t have them myself so I can’t comment on them any further. By the way, both Byas and Thompson are tenorists whose styles have been called ”transitional”, a label I think is unfair. The type of style they had is musically every bit as definite as any pure so called swing or bop tenorist. Regarding a guitarist, the one that most comes to my mind from your description is Tiny Grimes. He had a Charlie Christian-influenced swing-based style and appeared on many recordings in the mid-40’s. His first session under his own name was made for Savoy in 1944, and is quite famous since it had Charlie Parker as sideman. He led another session in 1946, and then in the late 40’s led a R&Bish band. I think his sessions under his own name have been released on the Blue Moon label, but otherwise the best example I can think of now is his recordings with the Art Tatum Trio from 1944, which are out on Classics’ Tatum Cds ”1940-1944” and ”1944”. Especially the ten-track Brunswick session on ”1940-1944” is essential, and since Tatum himself is quite some bonus, there really isn’t much to hesitate about there! Grimes also led three Prestige albums in the 50’s, which are available as OJCs. Otherwise the problem with guitarists is that they rarely recorded as leaders. You will frequently hear a guitarist pop up here and there as sideman on big band and small group recordings from this era, but rarely as leader, and that’s why it’s difficult to direct you to any specific album. As for the BN Powells and Monks, I, like you, prefer to hear the master takes only, but that can easily be accomplished by programming the CD player. It only takes a few seconds, so it’s better than buying the music anew, or not buying it at all. As for the Nat King Cole Classics the earlier Cds have recordings for several different labels, most importantly Decca. From ”1943-1944” it’s mainly Capitol. The earlier ones are generally jazzier than the later ones, when a shift to emphasizing his singing and slower pop material is noticeable. Well, Bev, it seems like you forgot to ask your other 7990 questions! To Lon especially I should say that from Cole’s Capitol days, his Classics Cds also contain: a Disc session with Illinois Jacquet on ”1943-1944”, a V-Disc session on ”1944-1945”, a Sunset session with Charlie Shavers and Herbie Haymer as well as another V-Disc session on ”1945”, and the Keynoters session with Willie Smith as well as one more V-Disc track on ”1946”. So it’s not only Capitol material from 1943 and onwards. -------------------------------------------------------------------------------- Posts: 1484 | From: Sweden | Registered: Aug 99 | IP: Logged Victor Christensen Member Member # 214 posted February 06, 2000 06:09 AM -------------------------------------------------------------------------------- Bev et al About Fats Waller on King Jazz. Planet has 12 of them listed in their february flier for 750 pesetas a piece. Vic -------------------------------------------------------------------------------- Posts: 805 | From: Copenhagen, DENMARK | Registered: Mar 99 | IP: Logged Bev Stapleton Member Member # 27 posted February 06, 2000 06:33 AM -------------------------------------------------------------------------------- I owe you all a million thanks again...although I thought I'd made my mind up on the RCA Wallers and now I'm wondering if the Classics might be a better approach to avoid the alternate takes. Is the sound quality that different? On the guitar front I know the Parker sides with Tiny Grimes. Will have to look further. I occasionally hear Tal Farlow mentioned with great love. I have the Norvo/Mingus trio LP he made and must listen more closely. Any comments on Farlow. I saw a Verve disc which seems readily available - it was called something like 'The Artistry of Tal Farlow.' Any advice? -------------------------------------------------------------------------------- Posts: 3103 | From: Worksop, Nottinghamshire, UK | Registered: Mar 99 | IP: Logged Scott Lasser Member Member # 185 posted February 06, 2000 04:23 PM -------------------------------------------------------------------------------- Bev -- You might be refering to the two Verve dates "The Tal Farlow Album" and "Tal". Both are exceptional; I give "Album" a slight nod because several of the cuts feature Joe Morello on drums. I really love his stuff form the 50's and 60's. Honestly, though -- You can't go wrong with either discs. Scott -------------------------------------------------------------------------------- Posts: 1225 | From: St. Louis, Missouri | Registered: Jul 99 | IP: Logged Bev Stapleton Member Member # 27 posted February 07, 2000 10:32 AM -------------------------------------------------------------------------------- Thanks Scott. I know I got the name of the album wrong. It was actually 'The Swinging Guitar of Tal Farlow' - I just checked on CD Now's site. -------------------------------------------------------------------------------- Posts: 3103 | From: Worksop, Nottinghamshire, UK | Registered: Mar 99 | IP: Logged Swinging Swede Member Member # 197 posted February 07, 2000 03:39 PM -------------------------------------------------------------------------------- There is also a Verve Elite Edition of "This Is Tal Farlow" recorded in 1958. I understand from the postings here that the VEEs often are difficult to locate in America, but here in Europe they seem much easier to come by. But we are definitely into the modern jazz era when we're talking about Farlow. Another great 50's guitarist, whom there doesn't seem to be much dicussion about is Barney Kessel. He came up in the post-Christian years and can be heard as sideman on several mid-40's sessions. From 1953 until the early 60's he recorded a string of albums for Contemporary, and almost all of them have been released as OJCs. Very swinging, in a modern vein. -------------------------------------------------------------------------------- Posts: 1484 | From: Sweden | Registered: Aug 99 | IP: Logged Scott Lasser Member Member # 185 posted February 08, 2000 05:02 AM -------------------------------------------------------------------------------- Someone on another thread just mentioned that they had found the VEE of "This Is Tal..." at a WALMART!!!!! -------------------------------------------------------------------------------- Posts: 1225 | From: St. Louis, Missouri | Registered: Jul 99 | IP: Logged Swinging Swede Member Member # 197 posted February 10, 2000 04:47 PM -------------------------------------------------------------------------------- Exciting news! I was in a record store the other day, and had not planned to pick up anything really, when my eyes suddenly caught it: a boxset from Classics called ”Complementary Tracks”! Now, normally I know in advance the next few titles from Classics, but this release I hadn’t heard about at all. It didn’t take me many seconds to realize that this was the kind of release one dreams about, only to wake up to the gloomy reality of unreleased and OOP music! ”Complementary Tracks” is a 2-CD set with a third ‘bonus CD’. It has the remaining tracks of some artists, that didn’t fit on previous releases, as well as some discographically isolated sessions, and some tracks that simply weren’t available when previous volumes were produced. The third bonus CD corrects some errors that were present on early pressings of some titles. Those early pressings in some cases had the wrong tune, or an alternate take instead of the master take. Of course I’m one of the suckers who bought those early pressings when they came out! So what does this set contain? Well, it has the remaining non-Ella Chick Webb tracks, it has the remaining Al Cooper’s Savoy Sultans session, the two remaining Fletcher Henderson sessions (1945 & 1949), the remaining two 40’s Don Redman sessions (1943 & 1946 with Don Byas), the only session ever made by the legendary Walter Page’s Blue Devils, the 1927 session with the Chickasaw Syncopaters (which in a way would become the Jimmie Lunceford orchestra), the last session by Alphonso Trent’s legendary territory orchestra (the previous sessions are on the recent ”Stuff Smith 1944-1946”, Smith being a sideman on those), the only pre-LP era recordings under clarinetist Omer Simeon’s name (and these 1929 performances are GREAT, with Earl Hines on piano on one), Taft Jordan’s only pre-LP session, the 1924 Red Onion Jazz Babies sessions with Louis Armstrong, clearly anticipating the Hot Five recordings, three of Midge Williams’ extremely rare 1934 Japanese recordings (imagine hearing ”St. Louis Blues” and ”Dinah” sung in Japanese! On the latter we also get to hear Japanese trumpet and clarinet solos! In 1934!), pianist Garnet Clark (who died 24 years old in a mental asylum) on a breathtaking ”I Got Rhythm” solo performance ... plus some other rarities! The bonus CD enabled me to hear, for instance, Lunceford’s ”Bugs Parade” for the first time. My original pressing had ”Blues In The Groove” a second time instead. All in all, an exciting release, filling some important holes in one’s collection! The sound is very good, and I agree with Lon, that the newer Classics releases have very good sound. Those from the early years (the label started late in 1989) are not on the same level soundwise, but hey, that’s what’s said about BNs and OJCs from that time too. This release also has some words on the history and intentions of Classics, that I thought you would find interesting: ”Over the last ten years, Classics has issued 600 CDs with a total of some 13000 tracks. Compared with the complete output of all jazz artists until 1950, this is only a percentage - but a considerable one! It has always been the policy of Classics not to focus exclusively on the big names and greatest bands but also to make available the recordings of unduly neglected or almost forgotten artists. We have tried and always intend to include all studio recordings or live sessions by an artist as long as all or part of the resulting music was actually issued at or around the time of the recording. This double CD collates a number of recordings that complete sessions by artists whose music is already out on Classics or makes tracks available that stand rather isolated, discographically speaking.” The notes conclude with the following passage: ”We are looking forward to your ongoing support, criticism and help in order to carry on with many more new releases.” Well, no e-mail address or website is given, but on the last page there is an address one can write to in order to get a free fully detailed Classics catalogue [and presumably offer suggestions too]: CLASSICS - MÉLODIE - 50, RUE STENDAHL - 75020 PARIS - FRANCE FAX: (33) (0)1 43 58 62 26 I hope I got it right there. Well, in later years they have started to release the recordings of several white band leaders, but there are some more I definitely would like to see, like Charlie Barnet and Jimmy Dorsey. Perhaps they are in the works already, but it doesn’t hurt to suggest them, I suppose. -------------------------------------------------------------------------------- Posts: 1484 | From: Sweden | Registered: Aug 99 | IP: Logged Bev Stapleton Member Member # 27 posted February 11, 2000 11:30 AM -------------------------------------------------------------------------------- Thanks, Swede. The disc you mention sound wonderful and I'll be looking out for it on my next London trip. Incidentally, are you from Sweden? Or of Swedish extraction? Or nothing to do with Sweden at all? Perhaps it's your christian name? Just curious. -------------------------------------------------------------------------------- Posts: 3103 | From: Worksop, Nottinghamshire, UK | Registered: Mar 99 | IP: Logged Lon Armstrong Member Member # 137 posted February 11, 2000 11:51 AM ---------------------------------------------------

Very interesting theory, Bertrand! Would the tune perhaps most likely be a leftover from the 'Schizophrenia' session from three months before, since the rhythm section in the same, and probably had all played the tune? Does the discographies list any untitled rejected tune from Shorter's session? This is pure speculation, and not as much of a theory: Shorter's session is listed on the CD as produced by Frank Wolff, while the Morgan session three months later was produced by Alfred Lion. If this is correct at all, could Wolff had disapproved of the tune, while Lion was willing to give it a try (allthough the whole session subsequently was put in the can)? Are there really any stories about how Frank Wolff was as a producer?

I presume that the Vogue discs have been discontinued and are now impossible to find...

Thanks for the link, Brownie! I wasn't aware of the book about him! A reason as good as any to dust off my ever-worsening French...

The first time I heard of Bobby Jaspar was in the early 90s when I got the Prestige album 'Interplay for 2 Trumpets and 2 Tenors' which featured Coltrane and Jaspar on tenor. I had just begun to discover Coltrane - I still restricted myself to his Prestige period after hearing one of the later Impulses which left me puzzled - and bought a lot of albums just because he was on them. I found Jaspar's playing nice enough, but it wasn't until years later when a friend played me 'I Should Care' from a J.J. Johnson LP (with Tommy Flanagan, Wilbur Little and Elvin Jones) that I really was intrigued by this figure. Since then I've gotten one of the releases in his name in the Jazz in Paris series ('Jeux de quartes') where he sticks to flute, and two Donald Byrd live albums from 1958 featuring him mainly on tenor. While he may not be a "lost giant", I can't help to think that he gets curiously little attention nowadays. He did release a couple of albums in the US, but I have so far not found any reviews and opinions about them. It's sad he died prematurely. In connection to some heart surgery it's been said; was it drug-related too?

I'm not even able to connect to the AAJ site right now. Maybe that will steer over some more jazz discussion here. Speaking for myself, I'm very busy these days, and I haven't got enough time for posting much. I expect things to ease down very soon, though, and I certainly intend to do my JAZZ posting here at Organissimo!

At the BNBB most people had their location and perhaps a few more pieces of info in their personal profiles. It would be fun if people cared to flesh out their profiles on this board too. Some have changed user names, and it can be hard to keep track of the fading memories from the [you-know-what] board. Edit: Damn, I made a typo in the topic title! Does the software allow us to edit titles, or even delete the topics we've started? The latter could perhaps be useful in the Offering/Looking for forum.

I would like to thank all of you! Brownie's response was actually written at the same time as was thanking Mike B, and then I missed it when I read his (brownie's) next post! This thread has brought up so many interesting suggestions! With Hank's enormous discography it's valuable to have some reference points.

Interesting titles, brownie, especially the 5 CD box with Vinding and Hart! Do you know what kind of distribution Alfa Jazz Records has? I haven't found much at all on the web. Is it a Japanese label?

I had just promised myself not to buy anymore music this month, but I happened to pass by a record store which seems to be closed most of the time. This time it was open, and there appeared to be a jazz sale going on... A lot of CDs and LPs were in the dangerous 2-3€ range; it's all too easy to spend too much! Among other things I found these: LPs Charles McPherson 'From This Moment On' (Prestige pressing, not OJC) Phineas Newborn Jr. 'Please Send Me Someone to Love' (Contemporary) Jimmy Owens 'No Escaping It' (Polydor) Earnie Wilkins and the Almost Big Band (Storyville) - This one is terrific!! John Lewis & Hank Jones 'An Evening with Two Grand Pianos' (Little Davis Records) Stanley Cowell Trio 'Close to You Alone' (DIW) Jimmy Smith 'The Cat' (Verve) CDs Adam Makovicz 'The Solo Album' (Verve) - Recorded in Stockholm and apparently released on Verve for the Swedish market Clifford Jordan / Richard Davis / James Williams / Ronnie Burrage 'Fourplay' (DIW) - Sealed! Buster Williams Quintet 'Somewhere Along the Way' (TCB) Sam Yahel 'Searchin' (Naxos) - The price was 1€! Fredrik Noren Band 'T' (Mirrors) Ron McClure Quartet 'Pink Cloud' (Naxos)

Why is it that the 'Aric applies for the A/R job' thread has 80 views, but this as of now less than 20?

Thanks Mike! I guess this album will not be a priority for me right now. But it's interesting that it was done in the early sixties. From what I've understood ragtime had a big (and fairly short) boost after Marvin Hamlish had adapted a lot of Scott Joplin tunes for his score for "The Sting" in 1973, but before that the interest in ragtime was marginal at best. BTW, I lucked into the Hank Jones-John Lewis album "An Evening with Two Grand Pianos" in a 3€-bin yesterday (among other things).

Anyone here who remembers Jean-Luc Godard's "Alphaville" from 1965? I remember that when catching the film from TV one late night ten years ago, the score made a strong impression on me. I made some attempts at finding it on LP or CD back then, but I never succeeded.

There is a Prestige album called "Interplay for 2 Trumpets and 2 Tenors" recorded in 1957 (I think it was under the leadership of Mal Waldron, but credited to "Coltrane et al."), which has Coltrane and Bobby Jaspar trading fours. If nothing else, it's a good opportunity of hearing more of the under-exposed Jaspar.