jazztrain

Jeff, I have a couple of Ray Burke 78s on Creole. I'll check the titles and get back to you.

Many thanks one and all!

I like the Atlantic album "Feeling + Finesse = Jazz"

You mean the Chronogical Classics, right? Also included in the 2nd Chronological Classics disc (1939-41).

Here's an obit: Lou Colombo obit

Trumpeter Lou Colombo has been killed in a traffic accident: Lou Colombo

Dexter in later years would often play extended solo cadenzas lasting a few minutes near the end of tunes in live performance. These give some sense of how a solo Dexter performance might have sounded. I was listening the other night to some of his live performances from the Keystone Korner, and this was a common element. Late said: >>> It does make me wonder, however — what would an a cappella Stan Getz track sound like? Or a solo Dexter Gordon track? Or Ben Webster? Or Johnny Hodges? Would these players have even considered such a thing? >>>

Her name is Janna Tull Steed. She wrote a spiritual biography on Ellington. Here's something that covers subsequent activities: Janna Tull Steed Some recent information on line indicates that she's in Creston, Iowa.

I also remember liking a more recent album he did ("It's Always You") that had Phil Woods as a sideman. Nice player.

Ellington vocalist Kay Davis has died. Here's the N.Y. Times obit: Kay Davis

Eric Dolphy. Tenderly (on Far Cry). I think he also has a solo bass clarinet version of "God Bless The Child." Exactly what I was going to suggest. Maybe Only Monk or More Monk.

Presumably the same guy who played clarinet on the Alec Wilder Octet recordings?

According to information here, they were made by an injection molding process using polystyrene: Bell Records I have at least one of the Artie Shaws on Bell. I'll try to pull it out this weekend. They're not shellac - they're vinyl-ish. They actually seem to be similar to the kind of hard plastic pressings Decca/Brunswick used in the 1950's, if you've ever seen any of those.

See here for a start: A&M 1980s series Not much jazz, but it looks like there are the "Live at the Knitting Factory" albums, a Stan Getz, and a Sun Ra. The Roach/Gillespie doesn't seem to be listed there. Perhaps it is in a different series. You might try posting your question in this forum: A&M Corner Forum

Not to be pedantic, but most of the material on the Complete "Columbia" set is from Brunswick (for the Teddy Wilson led dates) and from Vocalion (for most of the Holiday led sessions). The Teddy Wilson sessions are also available on a series of Teddy Wilson cds on hep (which include non-vocal tracks as well as those with other vocalists). They include master takes as well as alternates. These early sides, to me, are probably her most compelling and least mannered work.

The Butterfield/Wellstood is very nice as well. I believe it's a reissue of an LP that was on the 77 label.

I remember seeing him and Marion Brown playing together in New Haven, somewhere in the 1976 or 1977 time frame. He was around the area occasionally in those days.

Here's a link to a 1956 Billboard article that mentions them. Based in Barcelona: Belter Records

I just checked the OJL website, hoping it might provide information about possible future projects. Alas, nothing noted. One wishes that they would tackle some other western swing projects, but the market must be fairly limited these days.

Jeff: I continue to be impressed by Christopher and his ability to craft a distinctive and personal sound. I recently picked up this second duo with Tom McDermott (having apparently missed this post) and have been enjoying it immensely. At your recommendation, I also picked up the live date from the Meridien and concur with your assessment. Evan was one name I thought of right away when I saw this thread. I hear his influences, but they're so varied and so thoroughly absorbed that I mostly just hear Evan. I was disappointed that he didn't seem to be in town when I was in New Orleans last week, but I did pick up a great new album by him and pianist Tom McDermott (also one of my favorites).

There's a documentary film about James Booker that's in the works. Here's a link to some footage that's been posted for fund raising purposes: James Booker documentary in progress

Phil Urso was on the date as well. He's another player who didn't record as much as one might have hoped, although he did get some additional opportunities in later years.

Niko, I've checked the notes from the two LPs on Spotlite and for the Xanadu LP. The notes for Spotlite SPJ126 (Debut) are by Red Carraro. The material on side A is by the Tony Fruscella Quintet from December 10, 1948. With respect to this session, Carraro writes the following: "The session came and went and eventually became a thing of the past, incredibly like so many other good sessions it was never issued, then around 1974, a friend, Alan Skolnick, acquired a collection of records and parts from Sam Heltzer who had originally produced this very session for short-lived Century label. Shortly thereafter, Alan casually asked me if I'd every heard of an alto player named Chick Maures! Of course I was overjoyed at encountering this music again -- a small miracle! Then Alan was selling off his collection, and along came Tony Williams from London Town, and at long last the music, nearly all of it except one long take of Body and Soul is here on Spotlite!" Side B contains some live material recorded at the Open Door in New York City in 1953. The LP credits Paul Haines as the source of this material. The notes to Spotlite SPJ151 ("Fru'n Brew") are by Dan Morgenstern. The music is more live material from the Open Door, with the original recording credited to Paul Haines. In his notes, Morgenstern writes the following: "We've been exposed to a lot of flawed music in recent years, as everything ever captured by somebody's tape recorder is issued on records but this session is a gem, warts and all. We must be thankful that these fleeting, ephemeral moments in the lives of Tony Fruscella and Brew Moore were so well recorded by the enlightened Paul Haines, protected and cared for during the intervening years until now that there permanence is assured, salvaged from the jaws of time. For Tony, especially ... he's got something to tell us." The notes to Xanadu 172 ("Bebop Revisited, Vol. 3") are by Mark Gardner. He indicates that the session with Tony Fruscella is issued for the first time. Bill Triglia is credited as the arranger for the four selections and composed one of the tunes.

Niko, I'll check the Spotlite and Xanadu LPs when I'm home later. My experience is that Xanadu was often vague about the origin of some of the material that they issued.

Stefan: CDs received today. Thanks! That was fast.