jazztrain

I hope she has a successful recovery. I saw her twice in Boston, once with her trio and once as part of a "Jazz & Modernism" concert. Just checked. Both were back in 2001. Yikes. I didn't think it was quite that long ago!

That will likely be too late for many of us here!

Sgcim, Now you have me interested in the "Compositions of Bobby Scott" album. I'll have to look out for that. I'm not familiar with Ron Moeller, but I'll have to look out for more of his work. I have originals of a few of the Sam Most Bethlehem albums, but for the one mentioned in this thread, I have just a Fresh Sound LP reissue. I thought I had seen a refererence many years ago to an announcement for a Sam Most cd box set containing all of his work on Bethlehem. Turns out it must have just been a dream!

There are two sets of notes on the back of the LP, one by Creed Taylor and the other by Sam Most. In his notes, Creed Taylor states the following: "Ronny [sic] Woellmer's writing is warm and pleasant, and of inventive, swinging interest to jazz scholars and laymen alike. There is a certain welcome paucity of funkiness in Ronny's writing, which may afford relief for some musical palates. In any case, the arrangements provide an intelligent, well-conceived showcase for the talents of Sam Most." Sam Most is quoted as follows: "I told my arranger, Ronnie Woellmer, that I wanted to present a unique group which had a pleasant sound, and above all, which would swing. Ronnie, who is one of the most competent and effective arrangers I know, went to work assiduously and turned out the ten arrangements in this album." The music on the LP is from two sessions. Session 1: Sam Most (fl, cl), Marty Flax (bars), Bill Triglia (p), Barry Galbraith (g), Burgher Jones (b), Bobby Donaldson (d). Cherokee Don't Worry 'bout Me How Deep Is the Ocean What a Difference a Day Made Tea for Two Session 2: Oscar Pettiford (b) replaces Jones, Osie Johnson (d) replaces Donaldson. Smiles Broadway 'Deed I Do Falling in Love with Love Rose Room Note that the correct spelling of the bassist's name on the first session is "Burgher" Jones. He was known as Buddy Jones. Here's a link to his obituary: http://www.sfgate.com/news/article/Burgher-Jones-2770270.php

I'm assuming they mean black bands recorded in New Orleans in the 1920s. The Jones and Collins Astoria Eight sides probably fit the bill. They're on Frog 5. There are also the sides by Louis Dumaine's Jazzola Eight. Was he black? I'll have to check some books back home later. The Dumaine sidees are also on Frog 5 (Sizzling the Blues). Highly recommended. There's an excellent web site that covers recordings made in New Orleans in the 1920s. See here: http://www.bluesworld.com/NODiscog.html

Jim, I think the Bennie Green on Mount Vernon Music was originally on Enrica. I'm certain that the Edmond Hall was originally on Rae-Cox.

Nice work!

I checked my copy of Todd Bryant Weeks' "Luck's In My Corner - The Life and Music of Hot Lips Page" in the hope that there would be some information about Vincent Bair-Bey. Not much outside of the discographical listings. In a brief discussion of a 1953 recording session led by Page, Weeks mentions that Page put together a group with some "old associates" that included Bair-Bey, Alfred Cobb, and Sam "The Man" Taylor.

Bair-Bey solos on two tunes from the December 28, 1947 Hot Lips Page session -- "Fat Stuff" and "Boodie, Boodie." I agree that he sounds more like Bostic than Bird. He's most convincing on "Boodie, Boodie." I just listened to the Wynonie Harris session with Hot LIps Page (the "Good Morning Mr. Blues" session). No solos by Bair-Bey on that session. Both sessions (and some others that include Bair-Bey) are on a Hot Lips Page CD "Shoutin' The Blues" on Blue Boar Records that is distinguished by some rather wretched transfers.

Jim, Some quick searching shows a Vincent Bair-Bey who recorded with Ruth Brown, Wynonie Harris, Hot Lips Page (on sessions with vocals by Big Maybelle, Marion Abernathy, and Barbara Cameron), Sammy Price, Lonnie Johnson, Buddy Tate, and Jesse Stone. On the Jesse Stone session, he's apparently listed as "B. Bairbay" on a Bear Family issue. He's described on a Tom Archia discography website as a "passionate Bird imitator." I found a death notice for a Vincent W. Bair-Bey, who might be the same guy. Born 10/8/23. Died 6/14/77. Buried in Long Island National Cemetary, Farmingdale, NY. Served in the U.S. Army and listed as a veteran of WWII.

Jeff, Modesty, self awareness, and a realistic, objective assessment of one's abilities are not traits found in great abundance in some popular entertainers. The lack of these qualities, ironically, is probably one factor that allows them to achieve the success that they do (and to laugh all the way to the bank) without being crippled by insecurities and self-doubt. I guess I've learned to put up with Ted Lewis based on the musicians that he hired. He has some remarkably good records (especially if you overlook his "contributions").

Ted, JoAnne Brackeen and Geri Allen did some piano duos together as part of a concert in Boston earlier this year (late September). I remember giving away some tickets to the concert but was unable to attend.

Don Murray and Jimmy Dorsey also show up on clarinet on some Ted Lewis dates. Lewis was a really horrible musician/entertainer who often hired some pretty good jazz musicians. George Brunies joined the band in the mid 1920s and stayed for ten years. Muggsy came on board in 1929; some of my favorite Lewis records are those with him. And TL hired Fats Waller, Benny Goodman, and Frank Teschmacher for record dates. So there are some really interesting Ted Lewis records out there, but it's a crapshoot. Avoid the blue-label and "flags" Columbias - Brunies didn't join until the "Viva-tonal" label era. If you find any of the grey Lewis picture labels (the one below is from my collection), that's the right time period for Muggsy to be present. Of course, any particular record may really suck.

The end of the year is fast approaching and snow is moving in, so I thought I'd pull some some previously unheard records from a large collection that came my way last year. Here goes... Melvin Moore Sings - Deep Purple / Kai Winding Plays - I'm Shooting High (Cosmopolitan 300). First side vocal, second side instrumental. Warne Marsh solos on both. Record label based in Albany, NY. Wonder what else they may have issued. These two are on an IAJRC LP (Battle of the Tenor Saxes). Ventura is somewhat rhapsodic but not over the top. I like the second tune (versions by Armstrong and Wingy come to mind). It gets a somewhat more modern treatment here as you might expect. Tommy Dorsey and his Orchestra - Deep Valley/Trombonology (RCA Victor 20-2419) Corny vocal group (Stuart Foster and The Town Criers) on first side, but Tommy saves it with his trombone solo. Second side is the reason to keep it (some excellent trombone work by Tommy). Cab Calloway and his Orchestra - Hard TImes/Who's Yehudi! (Vocalion 5566) The usual Calloway vocals with some solo work by Dizzy and Chu. Rust also lists the first side as "Topsy Turvy (Hard TImes)" but there's no sign of "Topsy Turvy" anywhere on the label of the Vocalion issue. Paul Whiteman And His Swing Wing - Jeepers Creepers/Mutiny In The Nursery (Decca 2222) You have to put up with vocals by the Four Modernaires and Joan Edwards but otherwise get to hear some singing and impressive trombone work from Jack Teagarden. Brother Charlie (he doesn't get his due) solos as well. James P. Johnson - Worried And Lonesome Blues/Weeping Blues (Columbia A3950) Some early solo recordings by James P. A little stiffer rhythmically than his later efforts but still special. I love James P. Wish this was in a little better condition. The Dardanelle Trio - September Song/When A Woman Loves A Man (RCA Victor 20-1993) Better than I expected. Some nice guitar work and vibes. Wonder who? Just looked it up. She's on vibes as well as piano (should have guessed that). Guitarist is Joe Pinacore. Wonder who he is. Here's a link to a photo that shows Pinacore with Dardanelle: And here's a YouTube link where you can see Pinacore with Dardanelle (and some forgettable "dancing"): http://www.youtube.com/watch?v=MKkKUp5P2dk But I digress. Spike Jones and his Other Orchestra - Minka/Lassus Trombone (RCA Victor 20-1983) Spike Jones? Well there must be a reason this was in the collection. FIrst side features George Rock on trumpet. He can play, but taste is not his strong point. Some frailich style trumpet initially with a sound reminding me of Ziggy Elman and Charlie Shavers gives way to more of a Clyde McCoy-like segment (ugh) and then some rapid trumpet tonguing later. Technically impressive but musically wanting. The other side, on the other hand, features Eddie Kusby on trombone. Now he can play. That's the reason to hold onto this. Benny Goodman and His Orchestra - For Every Man There's A Woman/Beyond The Sea (Capitol 15030) The first side is billed as "with Peggy Lee." The second side is almost unrecognizable as a BG item. Not notable. Gene Krupa and his Orchestra - Yesterdays/Hop, Skip, and Jump (Columbia 36931) Charlie Ventura featured on first side, Anita O'Day on the second. Some muted trumpet that sounds like Roy Eldridge, but he wasn't in the band then. Don Fagerquist perhaps. Bechet-Nicholas Blue Five - Quincy Street Stomp/Weary Way Blues (Blue Note 517) Great pairing of two N.O. reed masters with rather different stylistic conceptions. Nicholas doing his usual filigree work much of the time around Bechet's lead (although Nicholas gets hot at times as well here). Always liked these sides. It's nice to have them on 78, although one wishes that the session had been better recorded. Victor, to my mind, captured Bechet's sound better than Blue Note ever did. Bechet on clarinet on the first side and soprano on the second. The first title, by the way, refers to the street on which Bechet was living at the time in Brooklyn but has also been issued as "Blame It On The Blues." My copy uses takes 1 and 2, respectively for those who might be interested. Cliff Jackson's Black & White Stompers - Weary Blues/If I Could Be With You (Black & White 4) Great record. Pee Wee (Russell) is wild on the first side which really romps. Cliff Jackson sounds somewhat more cohesive than usual on this session and seems to be channelling James P. Johnson at times. The second side is more subdued, with Pee Wee playing subtone on much of it. These two really come alive on 78. Great record. Best of this lot so far. More later if the spirit moves me.

Four nice ones on MaxxJazz also. Her solo effort on hep (The Next Step) is a particular favorite of mine.

Have a happy one David!

Note that there's an error on Disc 1 of this box. Track 4 ("Messin' Around") is not the version by Cookie's Gingersnaps. Rather, it's the version by Jimmie Blythe and His Ragmuffins. Jimmie Noone is not the clarinetist.

The Archie Semple listed below (Night People & Easy Living) was already out as Archie Semple/Alex Welsh Big Four (Night People) on the Lake label.

Ironcially, I aired the Mutt Carey session (originally on Century) from this album yesterday afternoon. The last three selections on Side A in this reissue are all Scott Joplin compositions but are credited on the label to A.A. Smith, which turns out to be a pseudonym for Herman Lubinsky.

Here's what I have so far (revised): EV 3001. Skeets Tolbert and His Gentlemen of Swing. 1939-1941 EV 3002. Lester Young. Historical Prez EV 3003. Live at the Apollo Live Boradcasts / Various Artists. 1944-1947 EV 3004. Count Basie. The Basie Special EV 3005. Duke Ellington. Reflections in Ellington: The 1932 Band in True Stereo EV 3006. "1940" The Bands of Count Basie, Louis Armstrong, Andy Kirk, and Jimmy Lunceford

Everybody's was one of Jerry Valburn's labels. I'll see if I can put together a list.

Jeff, Have a happy one and many more!

Just be careful removing the cds to play them. The prongs are particularly strong, and I ended up snapping disc 1 while trying to get it out. Only time that's ever happened to me.

Wow. Lots of familiar names from the past. I listened to them for year when in the greater NYC area.