jazztrain

Silly me. In the few moments I had earlier to look into the Tatum material, I failed to notice that the other side wasn't a Tatum item. For what it's worth, some initial searching failed to turn up anything regarding the Gee Haww Club. "Gee" and "Haw" are, of course, directional voice commands for horses and that's likely the source of the club's name. A bit more searching turned up a mention of Johnny Bradford's "Gee Haw" Club in the November 15, 1941 issue of the Pittsburgh Courier, so the spelling on the acetate label is probably in error. There was a pianist (and bassist) Nick Aldrich who played around New York in the 1930s and 1940s before he moved to Montreal. It's likely that this is the pianist on the non-Tatum item. There are some references on line to him playing in a "tramp band" and there's a video of The Tramp Band, with Nick Aldrich on piano, playing "Hit That Jive Jack." You can see it here: http://www.youtube.com/watch?v=7rDtnqQ3yCU As far as the identify of AME, I have no clue. Thanks, but the other side is not a Tatum performance, so it wouldn't be found under his name. Also, from the looks of it, only the Tatum side was dubbed to tape by "AME," I wonder who that might be? I know that Doug Pomery worked on some of these. but I believe he said he was working from tapes rather then discs.

There's some information in "Art Tatum - A Guide to His Recorded Music" by Arnold Laubich and Ray Spencer about the May 7, 1941 recording. They show three sides on that date recorded live by Jerry Mewman at Reuben's, at 242 West 130th Street in New York City. Solo performances by Art Tatum. Sweet Lorraine (3:01) Fine And Dandy (4:03) Begin The Beguine (3:52) All have been issued. The U.S. issue was Onyx ORI 205 ("God Is in the House"). They have no information about the material on the other side. They show nothing on that date. No versions by Tatum of "Old Man Mose." The only listed version of "When I Grow Too Old to Dream" is from a series of acetates made for Robbins Music Corporation which were transcribed by Morris (Murray) Feldman and published as "Art Tatum Improvisations, No. 1" in 1939, so this is unlikely to be what you have. I'll take a quick look at the series of Storyville cds to see if it turned up there.

Storyville has been using Allegro for their distribution for the last few years. I just checked their webpage. They don't list it yet (but they do list other volumes in the series).

Some of this was covered in earlier posts in this thread, but I'll summarize it here. The LP box set contains 115 previously unissued performances. As far as I can tell, they are are full length or "complete" performances, but I note that one of the Tristano takes of "Interlude" is significantly shorter than those others. In addition, the notes indicate that the bonus Tristano single contains a performance that runs for almost four minutes "until there was no more wax" and that it ends abruptly. There do not appear to be any breakdowns included in the LP box set. In fact, the notes indicate some takes that were not included were breakdowns. The master take of the Hawkins "Cattin' at Keynote" was inadvertently omitted from the box. The subsequent Benny Carter CD (The Complete Benny Carter, The Essential Keynote Collection 7) included material that was not included in the box set. The Benny Carter CD includes 3 new performances (all alternates) from the April 1946 session by the Arnold Ross Quintet (on which Benny Carter appears) as well as 7 alternates from the April 22, 1946 session by the Benny Carter Quintet. None of the material from the April 22, 1946 session had been issued on Keynote. The LP box set included one take each of four tunes from that session. The CD provides alternate takes as well.

I've always liked this one. I remember seeing him live (solo) shortly after it was released:

See my post above. I read it several years ago shortly after it came out and learned a lot from it.

How do you pronounce the last name of the English violinist and conductor Hugo Rignold? Is it "Rye-Nold?"

Allen, I read the Milton Brown book many years ago, so it's not fresh in my mind. However, just looking at the introduction (available as part of the "preview" version here: http://books.google.com/books?id=zzbv0r6e6gcC&printsec=frontcover#v=onepage&q&f=false), I see the following on page xxiii: >>> Bands in Texas were separated into two generalized categories: string bands and horn bands, the determining factor being the lead instrument in each group. The Musical Brownies, which always featured a fiddle playing lead and dominating the instrumentation, was called a "fiddle band" or a "string band." At the same time, the Brownies learned much of their material from phonograph records or radio programs "horn bands", jazz bands from New Orleans or Chicago that were dominated by the clarinet or cornet (Louis Armstrong, King Oliver) and trombone (Kid Ory, Jack Teagarden). In most cases, Milton Brown simply transferred the melodic lead to the fiddle. It was the dominance of this instrument that kept the Brownies conveniently in the "string band" category, despite the improvisatory nature of their music. >>> The introduction also mentions Cab Calloway, Teddy Bunn, Fats Waller, and Sylvester Weaver (who Ginell correctly credits as the source of Leon McAuliffe's "Steel Guitar Rag"). Ginell may not have delved into the influences of African Americans on western swing as deeply as you (and I, for that matter) wish that he had (and those influences clearly are there), but I don't think it's fair to say that there was "literally no mention" of them in the book. My recollection is that much of the book was a sort of oral history based on stories from surviving musical associates and family members who may not, for a variety of reasons, acknowledged or fully conceptualized the extent of those influences.

Five Play Jazz Quintet is the group you list above: Tony Corman (g) Laura Klein (p) Dave Tidall (reeds) Paul Smith (b) Alan Hall (d) Here's a link to a bio page: http://www.fiveplayjazz.com/bio.html There's a different group called Five Play, led by drummer Sherrie Maricle. It's a smaller group drawn from DIVA: http://divajazz.com/home/

WGBH moved the rebroadcasts of Ray's show to 8 pm on Sundays sometime during the summer of 2012. I remember tuning in one night while driving home and being surprised that it wasn't on. Here's a plug for the 1929 Henry Allen Victor recordings. JSP had a nice reissue of them. The Timeless 2-cd set of Tiny Parham is also excellent.

Will be in Paris from middle to end of next week. Any recommendations on music (live or recorded) venues? Is a trip to the Paris Jazz Corner worthwhile, and, if so, is it only open twice a week as their website implies? Any suggestions (music or otherwise, such as food) are welcome. We'll be staying in the Marai district. Thanks!

Saw that also. Thought at first that "____ Pepper" (3 letters) was going to be ART, but it was SGT.

I put a table together to sort out the Brunswick releases, but it doesn't paste correctly from Word, so I'll try something less elegant. Katz Meow D F I K After After Hours D F I K I Never Knew D F I K Away We Go D F I K Cupcake C Bob's Blob E G H Milt to the Hilt B Time to Go J The Blues Have Got Me J Homecoming B I Cover The Waterfront A F I K It's You Or No One A F I K Blues for Ava Part 1 A I Blues for Ava Part 2 A I Yesterdays A F I K Goodbye A F K Swootie Patootie A F K Sweet Lorraine A F K A = BL58056 = Tony Scott Quartet (10”) B = BL58057 = Jazz for GI’s Volume 1 (10”) C = BL58058 = Hi-Fi Jazz Vol. 2 (10”) D = BL58050 = Music After Midnight (10”) E = BL54001 = Jazztime U.S.A. - Vol. 2 (12”) F = BL54021 = Tony Scott In Hi-Fi (12”) G = BL54027 = Concert Jazz H = MCA2-4113 = Jazztime U.S.A. (12” double album) I = MCA(J) VIM-5507 = Tony Scott Quartet (12”, Japanese) J = Br 80237 (78 rpm) K = Avid set

Not bad from memory. I had to look it up! I agree that it's difficult to discern the logic (if any) behind Avid's releases. My main point is that it's a lost opportunity to comprehensively reissue Scott's Brunswick recordings, which, to be fair, were never issued in any logical manner to begin with. It's just that much more unlikely now for that to happen. Some of the tunes that were omitted, presumably because they weren't on the 12-inch issue of Tony Scott in Hi-Fi, are really good.

The 52nd Street Scene album on Coral consists of material from three different groups (not two). It leaves off one tune that was not on the original album but which was included on a Coleman Hawkins cd on GRP. There's a nice version of "Love is Just Around the Corner" that features Scott and Pee Wee Russell. Glad to see this available. Overall, this seems to be a frustrating mish mash of material. It has some but not all of the material that Scott recorded for Brunswick/Coral. For example: It's missing the three issued tunes from July 20, 1953. It has some of the material from the Jazz from GI's 10-inch (Dec. 22, 1953), but does not include: It's You Or No One Blues for Frankie and Ava (Parts 1 & 2) It's missing "Milt to the Hilt" from Aug. 27, 1953. It includes "Bob's Blob" from April 13, 1953 but does not include "Cupcake." It doesn't include "Homecoming" from Sept. 1, 1953. On the other hand, it looks like it includes some live material from the Newport Jazz Festival from 1958 that I haven't seen issued before.

Mannix The Avengers

http://www.nytimes.com/2013/08/21/arts/music/jane-harvey-jazz-singer-dies-at-88.html?ref=obituaries

More bad news: http://allafrica.com/stories/201308210658.html

Heard a promo for this while driving to work: http://onpoint.wbur.org/2013/08/21/john-coltranes-a-love-supreme It airs live in a few hours and should be available later from the website.

Just heard the news while driving to work. Too much bad news lately. I had the opportunity to meet Marian a few times. She was very pleasant and almost self-effacing. RIP.

That label is one of those things that have long fascinated me...but I've never bought anything of theirs. The website ordering process seems rather nebulous. Is there a more..."linear" way to get their catalog? I used to order his releases from Cadence/North Country which probably is no longer an option. A friend used to order directly from Barnett. If he could manage it (he's a luddite in some respects), it can't be that difficult.

Yes, you're right, the Aaron Sachs on Rama (see below) was reissued by Fresh Sound. This Aaron Sachs 10 inch on Bethlehem (see below) has not, to my knowledge, been reissued on CD. It had been reissued on LP as half of this 12 inch: The other half of "We Brought Our Axes" was originally on a 10 inch Hank D'Amico record (see below) and has recently been reissued in Japan. Aaron gave me a burned copy of the Bethlehem LP he made with Jimmy Raney and Hall Overton, so Fresh Sound probably put that one out. That sounds like the LP on the RAMA label ("Clarinet & Co."), not the Bethlehem LP which had Urbie Green, Danny Bank, Barry Galbraith, Clyde Lombardi and Osie Johnson. And yes - the RAMA LP was reissued by Fresh sound both on vinyl and CD. Otherwise, I agree with jazztrsin. Lots of obvious items there that have already been reissued a couple of times whereas others seem to be overlooked constantly.

Looks like mostly the same old stuff. There are some interesting Bethlehem titles that never seem to get reissued, such as the Dick Wetmore, the Milt Hinton, the Sam Most and Aaron Sachs albums, and the two albums by the Six to name a few, although it's possible that Fresh Sound may have covered some of these. The Hank D'Amico on Bethlehem seems to be out at last in Japan. Some of the listed titles look like they may be downloads only.

Although arguably not relevant to the "where to start" question regarding Stuff Smith, those who have progressed beyond the initial exposure phase may be interested in some really deep material involving Stuff Smith that is available in a series of issues from the AB Fable label. See here: http://www.abar.net/

Previously discussed a bit here: Many years ago, Concord had a promotion in which they asked about recommendations for reissues. I remember suggesting some of the Kamuca albums. Never happened.