jazztrain

Gee, lighten up. There must be tons of these. Off the top of my head: Buddy Tate. Tate-a-Tate Gene Ammons. Blue Gene. Sonny Clark. Some Clark Bars. Art Farmer. Farmer's Market. Buddy Collette. Calm Cool and Collette. Lee Konitz. Subconscious-lee. Warne Marsh. Warne Out. Frank Rosolino. Frankly Speaking. Frank Foster and Frank Wess. Two Franks Please. Hank Jones. Hanky Panky. Herb Ellis. Ellis in Wonderland. Red Garland. A Garland of Red. Don Byas. Byas'd Opinion. Byas a Drink.

Ok. Let C = the number of chickens Let R = the number of rabbits Number of animals in room = C + R = 105 Number of legs in room = 2C + 4R = 360 (assuming each animal has a normal complement of limbs) substitute C = 105 - R in the second equation and solve for R. you get R = 75, so C = 30. Yes at her school they are doing algebra. And you typed faster than I did!

You appear to have 115 animals in the room, not 105. The answer is 30 chickens and 75 rabbits. Does the 11 year old do basic algebra?

I don't think Wellstood has been mentioned yet in this thread. Great player. He was out of an earlier tradition but had a very personal spin to it. Saw him at least a few times, once in DC where he played solo. I also distinctly remember seeing him playing as part of the traditional/mainstream night at the Boston Globe Jazz Festival in the late 1970s. He did a version of "If Dreams Come True" that I still remember. I thought he stole the showm but Marian McPartland and others got more applause.

Perhaps not, but here's a quote from Lester (not sure this is the one I was looking for) from an interview he did with Francois Postif, a portion of which is reproduced in Frank Buchmann-Moller's "You Just Fight For Your Life" on page 218. >>> "I developed my saxophone to play a sound like an alto, make a sound like a tenor, make a sound like a bass and everything, and I'm not through with it all yet. That's why they get all trapped up. They say: "Goddam, I never heard Prez play like this!" That's the way I want them. That's modern, dig? Fuck what you played back in '49. It's what you play today, you dig? So that's why they get lost and walked out. Do you play the same thing every day? >>> As far as Whitby's sound being attributable to a clarinet embouchure, note that there's no mention of Whitby having played clarinet. The only references I've seen so far mention him playing tenor and alto. quote name='JSngry' timestamp='1316096721' post='1137667'] One thing, please - Pres never sounded "like an alto". His "light" tone was actually the result of a darkening of his sounds' upper partials, as well as sending a "wider" air-column (best way I can describe it) through the horn (but still supporting it fully, that tone of Pres' ain't gonna get swallowed up by anything).. If anything, his tone was less like an alto, although if the only real point of reference was Hawk (or the beloved Bud Freeman), then they wouldn't yet have the baseline to figure that out. But even in his early days, Pres's tone was always "darker" than Hawk & Co., because of the de-emphasis of the upper partials of his sound, which is a fundamentally different thing than upper register of the horn. Hell, you could say that it was Hawkins & Co. who were more "alto-like" in that regard! Whitby, it sounds like to me, has as bright a tone as the norm of the time, but not as "full". This is probably the result of using a setup that still emphasizes the upper partials in the tone, but using a less dense airstream. As I've said before, it sounds to me as if his embouchure and concept of airstream is rooted in clarinet playing, but maybe not. Tone is one of those things that stir a wide variety of emotional responses (just as many people think of Coltrane's tone as "dark as they do of it as "bright"), but the physics of how any given tone is achieved are pretty much objective.

Perhaps, but he (Hodes) was perfectly pleasant the one time I saw him (in New Hampshire). Played well also.

Allen: It's clear that they were at least aware of each other. What's less clear is the extent to which they overlapped at all in the Bronson or Oliver bands; they may have been more like ships passing in the night, so it's somewhat speculative to ascribe any influence of one on the other as tempting as that might be. It's unfortunate that Whitby did not record other than on the Noone session. As I mentioned earlier, he appears to have been on some Jubilee of by Frankie Trumbauer. There's a quote somewhere by Young that describes how his sound and approach to the tenor changed over time. Early on it was somewhat light and airy, more like an alto. As he aged, his tone deepened and he played more in lower registers. I'll try to find the quote later if I have time. Anyone else remember it?

First, some notes from Laurie Wright's King Oliver book. There's more than I have time or energy to type at the moment, so I'll summarize what's relevant. Odie Cromwell joined the Art Bronson Bostonians, based in Wichita, Kansas, around June/July 1929. Cromwell arranged for the band and a sax section that was created by the addition of Sam Allen on alto and, a few weeks later, by Lester Young who came in from Phoenix, Arizona. The group worked for about 18 months. Cromwell left when work was getting scarce and was replaced by Francis Whitby. Lester Young left about the same time and was replaced by Jack Holt. The band returned to Wichita where it was fronted by Tiny Taylor. King Oliver heard the group and convinced its managers, the Frederick Brother's Agency, to let him take over what was left of the band. According to Cromwell, Francis Whitby was replaced by Lester Young before Oliver took over the group. The Oliver band eventually headed north to South Bend, Michigan and worked their way to Battle Creek, Michigan (Cromwell's home town) where Cromwell joined. Cromwell left when the band was going to hit the road again. Lester Young left at about this time and was replaced by, you guessed it, Francis Whitby. Whitby quit Oliver in May 1933 when Oliver refused to buy him a new gold-plated Conn tenor sax. Guess who was hired as his replacement? Yep, Lester Young. Whitby later rejoined Oliver as part of an enlarged sax section, but Young had left by then. Whitby eventually left Oliver with several other sidemen and formed a cooperative unit. So, at first reading, it would seem that there was little or no overlap of Young and Whitby with King Oliver or in the Bronson group. Here's a few tidbits from a Frank Driggs interview with Sam Allen from August 5, 1973: >>> "Doc is from Oklahoma City . . . we picked ihim up there with Bronson . . . his dad is a dentist. He got hurt over in Honoulu in a defence plant and he fell off something and injured his back, and I guess he's had fifteen different operations, but he's in good spirits. Whitby was kind of a happy-go-lucky guy. His biggest trouble was making time. He could write like a dog; he could write beautifully, but the thing with it was, he'd be liable to be a year putting it together. But when he did, it would be right. He was with Walter Barnes too, you know. He left the outfit I was with in Portsmouth, Ohio. King was real happy to have Lester, but the Frederick Brothers had booked a tour down south, and Lester didn't want to go. We were getting ready to go into the Ridgeway Inn in Nashville, he couldn't see going south. Period! So he stayed in Kansas City and we picked up Whitby again." >>> The article in Storyville by Harold Kaye is long but interesting. A few items. There's the well known story that appears in "The Jazz Makers" by Nat Shapiro and Nat Hentoff. Lester Young is quoted: "But this fellow Art Bronson from Salina, Kansas, who had a band called the Bostonians, accommodated me. The only horn he could get me was a baritone, so I joined the Bostonians and later on, when the tenor man goofed off, they switched me. The way I switched to tenor with the Bostonians was the tenor player kept grandstanding all the time. So I told the leader, if you buy a tenor for me, I'll play it. You see, the regular tenor was a boy from a well-to-do family. He didn't have to play. I remeber we'd go by his house sometimes and beg him to play. I got sick of it." Kaye mentions that Lester's description of the tenor man might or might not have matched Whitby. Later in the article, Kaye suggests that both tenors may have been in Bronson's group at the same time but goes on to note: "Whitby was strangely reticent about the whole matter and emphatically denied knowing Lester Young during this period, including both of Whitby's later tours with Joe "King" Oliver. This is very interesting because Lester Young also played with Oliver during that period, possibly replacing Whitby after one of his stints with Oliver." Later in the article, there is a description of the January 15, 1935 recording session with Jimmie Noone. Kaye suggests that this was Whitby's only recording session. According to Kaye: "Whitby's solos are confident, tight, and well-constructed. He demonstrates a fluency of thought and imagination. There is no lack of technical virtuosity." Kaye mentions Albert McCarthy's assessment of the records in Jazz on Record 1917-1967: "In 1936 Noone again recorded to advantage, his group including a good but almost unknown tenor player, Francis Whitby, very much influenced by Chu Berry..." Kaye continues: "In an interview, Whitby took violent exception to this characterization of this playing, and the author upholds Whitby's disavowal of the description. In the opinion of the author, the solos demonstrate an almost complete independence of the major saxophone influence of the time, Coleman Hawkins, and followers like Chu Berry. Lester Young had not yet made his impact on the Tenor sax scene. Paradoxically, given his origin, Francis's playing was the antithesis of the hard-driving, gutty, bluesy, South-Western style of tenor sax playing, as exemplified by Herschel Evans, Buddy Tate, and others. If anything, Whitby's tone and attack were light and airy, more like an alto saxophone." Have you checked Laurie Wright's bible "King Oliver" (Storyville Publications, 1987)? If not, I could check my copy tonight to look for any mention of Whitby. I think I have Storyville #110. Will check tonight.

There's some information on line that suggests that Whitby played with Erskine Hawkins for a while in late 1944 and may appear on some Jubilee broadcasts. I also have Storyville 110 (and the King Oliver discography) at home, but I suspect you'll be home before I will tonight. Have you checked Laurie Wright's bible "King Oliver" (Storyville Publications, 1987)? If not, I could check my copy tonight to look for any mention of Whitby. I think I have Storyville #110. Will check tonight.

You're right, of course. Something got scrambled between the brain and fingers... That's "Bones for the King."

There are two Dicky Wells albums on Felsted -- "Blues for the King" and "Trombone Four In Hand" No one has mentioned the Buster Bailey album ("All About Memphis").

No, of course you're not the only one. Let me check at home. Send me a PM later.

I think Mulligan solos on clarinet on at least one tune on the cd version of the Verve "Night Lights" album. I think it's a different version of the tune from another session (perhaps the one that resulted in the "Feelin' Good" album). I won't be able to confirm until I get home later. There must be an on-line Mulligan discography... There is. See information below: >>> GERRY MULLIGAN AND TOM JOBIM Gerry Mulligan (cl), Tom Jobim (p) New York City, N.Y., 1960-1961 Samba d'Une Seule Note (2:12) Unissued Lesson Of Rhythm About 'Samba d'Une Seule Note' (0:12) As above Note: From the TV-movie 'Bossa Nova' >>> >>> GERRY MULLIGAN AND JUDY HOLLIDAY Gerry Mulligan (p, cl**), Judy Holliday (vcl*) Rehearsal at home, probably 1961 Come Rain Or Come Shine * Private recording Nobody's Heart * As above Johnny One Note ** As above Some unidentified songs As above Note: Available at Library of Congress as Tape RGA 2661 (35:00) >>> >>> GERRY MULLIGAN AND THE CONCERT JAZZ BAND Clark Terry (tp, flh), Nick Travis, Don Ferrara, Doc Severinsen (tp), Bob Brookmeyer (vtb, p*), Willie Dennis (tb), Tony Studd (b-tb), Gene Quill (cl, as), Eddie Caine (as, fl), Jim Reider (ts), Gene Allen (bars), Gerry Mulligan (bars, cl**, p***), Jim Hall (g), Bill Crow (b), Gus Johnson (dm), Gary McFarland (arr), Bob Brookmeyer (arr of Big City Blues) Webster Hall, New York City, N.Y., December 18-21, 1962 Little Rock Get Away (take 5) Verve unissued Little Rock Get Away (take 6) As above Pretty Little Gypsy (take 3) As above Big City Blues (take 3) As above Big City Blues (take 5) As above Note: Outtakes available at Library of Congress as Tape RGA 2683 (26:00) [Note: discography does not indicate where Mulligan plays clarinet on this session] >>> GERRY MULLIGAN QUINTET AND STRINGS Gerry Mulligan (bars, cl*), Pete Jolly (p, celeste), John Gray or Jimmy Helms (g), Jimmy Bond (b), Hal Blaine (dm) + 10-piece string group lead by Harry Bluestone (concert master), Julian Lee (arr, cond) Hollywood, CA., October 20-22, 1965 35897 P.S. I Love You (2:55) Limelight LM 82030,LS 86030,(J)CD 32JD-133, Trip Jazz TLP-5593,Mercury(E)SLML 4020, (Eu)220 024 LMY,(Du)134 518 MFY, Philips CD 816 185-2 35898 Please Don’t Talk About Me When I’m Gone (3:00/2:59) Limelight LM 82030,LS 86030,(J)CD 32JD-133, Trip Jazz TLP-5593,Mercury(E)SLML 4020, (Eu)220 024 LMY,(Du)134 518 MFY 35899 Love Walked In * (no strings) (2:25) Limelight LM 82030,LS 86030,(J)CD 32JD-133, Trip Jazz TLP-5593,Mercury(E)SLML 4020, (Eu)220 024 LMY,(Du)134 518 MFY, Philips CD 818 272-2 35900 Love Is The Sweetest Thing (3:37/3:36) Limelight LM 82030,LS 86030,(J)CD 32JD-133, Trip Jazz TLP-5593,Mercury(E)SLML 4020, (Eu)220 024 LMY,(Du)134 518 MFY, Philips CD 816 185-2 35901 Night Lights ° * (2:55/2:53) Limelight LM 82030,LS 86030,(J)CD 32JD-133, Trip Jazz TLP-5593,Mercury(E)SLML 4020, (Eu)220 024 LMY,(Du)134 518 MFY,CD 818 271-2, Philips CD 818 272-2,Jazz Door(G)CD JD 12139, Lone Hill Jazz(And)CD LHJ10222 35902 The Song Is Ended (2:48) Limelight LM 82030,LS 86030,(J)CD 32JD-133, Trip Jazz TLP-5593,Mercury(E)SLML 4020, (Eu)220 024 LMY,(Du)134 518 MFY 35903 The Second Time Around (2:35/2:34) Limelight LM 82030,LS 86030,(J)CD 32JD-133, Trip Jazz TLP-5593,Mercury(E)SLML 4020, (Eu)220 024 LMY,(Du)134 518 MFY, Philips CD 816 185-2 35904 Feeling Good (3:34/3:31) Limelight LM 82030,LS 86030,(J)CD 32JD-133, Trip Jazz TLP-5593,Mercury(E)SLML 4020, (Eu)220 024 LMY,(Du)134 518 MFY, Verve CD 840 938-2 35905 Not Mine * (3:06) Limelight LM 82030,LS 86030,(J)CD 32JD-133, Trip Jazz TLP-5593,Mercury(E)SLML 4020, (Eu)220 024 LMY,(Du)134 518 MFY 35906 The Shadow Of Your Smile (3:33) Limelight LM 82030,LS 86030,(J)CD 32JD-133, Trip Jazz TLP-5593,Mercury(E)SLML 4020, (Eu)220 024 LMY,(Du)134 518 MFY, Philips CD 816 185-2 35907 I’ll Walk Alone * (no strings) (3:37/3:35) Limelight LM 82030,LS 86030,(J)CD 32JD-133, Trip Jazz TLP-5593,Mercury(E)SLML 4020, (Eu)220 024 LMY,(Du)134 518 MFY, Philips CD 818 272-2 35908 Night Lights * (2:53) Verve CD 840 938-2 Notes: ° This song 'Night Lights' (master #35901) has also in some issues been titled 'The Lonely Night' °° It's uncertain if master #35908 really exists or Verve CD 840 938-2 should be listed under master #35901 instead Album titles: "FEELIN' GOOD - GERRY MULLIGAN" (Limelight LP LS 86030, LP SLML 4020, LP 220 024 LMY and CD 32JD-133) "GERRY MULLIGAN - LOVE WALKED IN" (Mercury LP 134 518 MFY) "GERRY MULLIGAN - NIGHT LIGHTS" (Mercury CD 818 271-2) "JAZZ AROUND MIDNIGHT - STRINGS ATTACHED" (Verve CD 840 938-2) "ROMANTIC SAX FOR LOVERS" (Philips CD 816 185-2) "ROMANTIC CLARINET FOR LOVERS" (Philips CD 818 272-2) "GERRY MULLIGAN - FESTIVAL MINOR-NIGHT LIGHTS" (Jazz Door CD JD 12139) "GERRY MULLIGAN SEXTET - COMPLETE STUDIO RECORDINGS" (Lone Hill Jazz CD LHJ10222) >>> >>> JAM SESSION Gerry Mulligan (bars, cl*, p**), Augusto Mancinelli (g), Raffael Gusti (p), Marco Cempihi (b), Massimo Manzi (dm) Porto Potenza Picena, Italy, August 2, 1975 Out Of Nowhere (10:22) Private recording Moonlight In Vermont (9:33) As above Now's The Time (11:49) As above I'll Remember April (10:26) As above Lament ** (4:46) As above Round About Midnight (10:11) As above Blues In F (8:47) As above Satin Doll (7:44) As above What Is This Thing Called Love? (11:15) As above Blues For Clarinet * (incompl.) (3:33) As above >>> >>> GERRY MULLIGAN AT A WHITE HOUSE CONCERT Roy Eldridge, Clark Terry, Dizzy Gillespie (tp), Gerry Mulligan (cl), Benny Carter, Ornette Coleman (as), Illinois Jacquet, Sonny Rollins, Dexter Gordon, Stan Getz, Zoot Sims (ts), Lionel Hampton (vib), Teddy Wilson, Cecil Taylor, Chick Corea (p), George Benson (g), Milt Hinton, Ray Brown (b), Jo Jones, Louis Bellson (dm) The White House, Washington, Washington D.C., June 18, 1978 Contained 35 performers and 3 announcers. Gerry was one of the announcers. He presented the Benny Carter-Roy Eldridge All Stars, but he didn't bring any instrument. Lionel Hampton invited everyone back for a final jam. Gerry borrowed a clarinet from a New Orleans Brass Band (Tuxedo) musician and joined in for the last two numbers. There is a doubt as to which musicians participated in the final jam session. Flying Home (6:06) Private recording In The Good Old Summer Time (4:35) As above Note: Broadcasted by WMUK-FM Kalamazoo, Michigan >>>

If memory serves, there are some early sides (late thirties) with Kenny Clark playing vibes with Edgar Hayes. I recently read a biography of Klook and recall that vibes was a big thing with him in his early days, but that he gave up in the face of Bags' superior talent. (They were together in the Gillespie outfit, of course.) People interviewed for the book ascribed Klook's "understanding" as a drummer to what was going on to his ability to play other instruments, vibes included.

Not sure if this is what he had in mind, but there's this: >>> chuck•y Pronunciation: (chuk'ē), [key] —n., —pl. chuck•ies. Brit. Dial. a chicken; fowl. Read more: chucky: meaning and definitions — Infoplease.com http://dictionary.infoplease.com/chucky#ixzz1VJ9VOIm8 >>>

Heavy rain today. No lunch time walk, so, instead, a bit more Cosmopolitan/Cosmo research. Here's a link to a numerical listing of the Cosmo label: Cosmo label listing I had found some information in Billboard previously indicating that Hal McIntyre, Tony Pastor, Dallas Bartley, and Bobby Byrne had all made sessions for Cosmo. They all appear in the referenced listing. The listing provides matrix numbers, none of which appears to be in a series consistent with the 8050 through 8053 numbering that is associated with the Kai Winding session. All the matrix numbers listed (with the exception of the Trummy Young session) are in a 6000 series. Note the lack of any Cosmo catalog numbers in the 300s. Perhaps the Kai Winding was in a different series for which Cosmopolitan used the full name instead of Cosmo? Note also the intriguing inclusion of the Frankie Socolow pairing of Reverse the Charges/The Man I Love (Cosmo 902). Other information suggests that this session was issued on Duke 112 (but provides no matrix numbers). Another Socolow side (September in the Rain) that was on Duke 115 does not appear in the Cosmo listing. Was there any connection between the Duke label and Cosmo/Cosmopolitan? Can anyone confirm that the Frankie Socolow pairing was actually issued on Cosmo? Socolow played with Hal McIntyre who recorded for Cosmo, so there's some connection there. More mysteries, but work calls...

Here's some information from the following Kai Winding website: Kai Winding >>> 51-03 KAI WINDING'S BAND - NYC - April 27, 1951 Kai Winding (tb); Warne Marsh (ts); Billy Taylor (p); Jack Lesberg (b); Charlie Perry (dm); Melvin Moore (vo). DEEP PURPLE vMM Cosmopolitan 300; IAJRC 15 I'M SHOOTING HIGH Cosmopolitan 300; IAJRC 15 YOU'RE BLASE vMM MOONSHOWER Session complete on Xanadu 172. >>> This is consistent with the suggestion that only two of the four titles were issued on 78.

Perhaps it was related to the Cosmo label? See this, for example Cosmo label: >>> The Cosmo label was "Manufactured By Cosmopolitan Records, Inc." in New York City. Information from George Moonoogian: Cosmopolitan Records, Inc. 745 Fifth Avenue, New York, NY (10/45) Moved to 545 Fifth Avenue (ca 1947) President: Harry Bank A & R: Herb Hendler Sales: Eddie Heller Cosmo recorded pop, rhythm & blues, country & western, and jazz. >>> I also came across numerous references in Billboard to Harry Bank being the president of Cosmopolitan Records, Inc. See also this which may or may not be related: Time article

Goodman changed his embouchure at some point when studying with Reginald Kell. Stylistically, outside of a brief flirtation with bebop, he didn't change notably throughout his career.

Niko: Here's some information on Livingston Audio Products: Livingston Audio Products

Niko: I had also found references to three of the Blair-Smythe Society Orchestra issues. I also found these two which may may not have been mentioned before (unless I missed them in the thread): Stereo-Gems 113. 7 Lemons on the Rocks. Tin Roof Blues/Indiana Stereo-Gems 112. Lenny Herman. Humoresque/Roses of Picardy

Understood. It does add to the mystery though. Found some other Stereo-Gems issues that I may add later when I'm back home.

Dan: The link below makes it look as if there might be still another Gene Harris trio 45 on Stereo-Gems. If I interpret the information correctly, it looks as if Stereo-Gems 122 is the Gene Harris trio: By The Waters of Minnetonka/It's Only a Paper Moon. Another Gene Harris 45 listed here?

Did you actually receive the box? I ordered another copy of the box from them at the same price when it showed up again a few days later. What I just received in the mail is a single disc (#3) from the box!

Just checked and you're right. They've both been added to the Cottrell cd. Should have remembered that. You must be speaking of the lps - there are 2 bonus tracks on the cd version. the added tracks are: Down By the Riverside 2:48 You Don't Love Me 3:29