jazztrain

The entire session also was on an Onyx LP: Onyx 209 (Tootin' Through the Roof, Vol. 1).

Some of those "classics" were either appropriated from others or incorrectly attributed to Davis. quote name='Cliff Englewood' date='May 29 2009, 05:54 AM' post='921083'] Considering how many sessions he was on or leader of, and considering how much of it got released, Miles Davis. I know he composed a good few classics but there are so many albums where it's all standards or the writing of his band members.

Interesting question. Although there are a few exceptions to your observation (most notably "Goodbye Pork Pie Hat" and to a lesser extent "Duke Ellington's Sound of Love" and "Orange Was the Color of Her Dress..."), most of the recordings of his compositions seem to be by his own groups or by the Mingus Dynasty Band. He wrote some striking ballads (such as "Vassarlean") that should be played more often. Pepper Adams did a nice album of Mingus compositions. An element of this may be true, but I think there has to be some other reason too.

I've enjoyed the LP for many years. Anything extra on the CD issue?

"Blue Horizon" is an old favorite. Bechet's tone is wide and warm on clarinet, and the performance just builds and builds. A real tour de force. The date with Bunk Johnson is memorable as well. Check out "Lord Let Me in the Lifeboat." The session with Bechet and Albert Nicholas also has some wonderful moments. It's hard to pick a favorite Mosaic. Off the top of my head, the Edmond Hall/James P. Johnson/Sidney DeParis/Vic Dickenson, the Bechet, and the Art Hodes boxes would be high on the list, as would the Jimmy Giuffre, the Commodore sets, the Buddy DeFranco/Sonny Clark, and the Herbie Nicholas. I guess you can't really have more than one "favorite" so I'll stop.

Tom: There's some information on John Wilson here: http://www.newsroom.duq.edu/r20050112.html Here are some excerpts from that page (which concerns a 2005 concert to honor him upon his retirement from Duquesne): >>> John Wilson, who played trumpet with some of jazz's legendary performers for 25 years then brought his considerable talent and credentials to Duquesne's Mary Pappert School of Music in 1972, will be honored this month as he finishes his last semester at the university. >>> Wilson, an adjunct professor of music and director of the Duquesne University Jazz Ensembles, developed a jazz studies curriculum for the university in 1975—the first ever in Pennsylvania. Wilson served as director of jazz studies at Duquesne through 1997. >>> Prior to joining Duquesne, Wilson worked for 25 years in New York City in a successful career that included all aspects of performance—large and small jazz ensembles, television, radio, movies, recordings and Broadway theatre. He performed with the Benny Goodman and Sauter-Finnegan Orchestras, and recorded with those groups as well as with Gerry Mulligan, Bobby Brookmeyer, Phil Woods and Jimmy Raney. He earned arranging credits with Nancy Wilson, the Dizzy Gillespie Alumni Orchestra, John Scofield and Tony Williams. In addition, Wilson wrote the score Indigo in Motion, a tribute to Billy Strayhorn, which was performed by the Pittsburgh Ballet in 2000 and 2002. Wilson also contributed arrangements for the Grammy-nominated A Nancy Wilson Christmas, and his arrangement Day In, Day Out for Wilson is featured on the current National Endowment for the Arts tribute to jazz masters. Currently, he's writing a textbook on jazz arranging and orchestration with Tomaro. >>>

The seller's feedback ranking was relatively low also. That's why I backed off ordering a few items.

Part of it sounds like a Jelly Roll Morton tune ("King Porter Stomp" perhaps) but the rest of it doesn't. Just coming up for air for a short break at work. Over and out...

It's hard to explain how the music sounds from 78s if you haven't experienced it. There's a certain presence and fullness as well as a "you are there" quality to it. And, in many cases, there are fine details that just don't seem to make it to LP or CD reissues.

Not sure where to post this or if someone else has already. Here's a link to a review in the New York Times about a Sun Ra exhibit in Philadelphia. http://www.nytimes.com/2009/05/01/arts/des...20ra&st=cse

It's a wonderful book. I also found a copy at a reasonable price in a used book store, probably 20 or 25 years ago. I lent it to a friend, and it never came back. It took quite a while to come up with another copy. I'll have to take it out this weekend and enjoy it once again. Thanks for bringing it up.

John Wilson (who wrote on jazz for the NY TImes for years) also had jazz programs on WQXR. The first appears to have ended shortly before I began listening to jazz. The second ran after I had left New York. As a kid, I listened to classical music on WQXR and on WNCN (which died about 15 years ago): http://www.nytimes.com/1993/12/19/nyregion...sical-wncn.html

Regarding your question about "Carney and Begard Place" -- The LP issue of "Meeting of the Times" has the song spelled as you indicate. Based on a review on line (I don't have the album), Kirk plays baritone saxophone and clarinet at the same time on the tune, so it's pretty clear that it's a joint reference to Harry Carney and Barney Bigard. The tune is registered at the Harry Fox Agency as "Carney and Begard Place." But, then, if we're going to include Yanow-isms, wouldn't that take up a whole (long) thread of its own? Oh, and to repeat my previous question, does anyone know the genesis of that "Carney and Begard Place" title from Meeting of the Times by Rahsaan Roland Kirk and Al Hibbler (reissued in myriad Rah collections with the same spelling)? I've often wondered whether it was just a typo/misspelling or was meant to be that way. Fellow Rahsaanaholics on the Yahoo! Bright Moments group never did shed any light on this question.

Sonny Criss did a nice one.

Kenny Barron Trio.

jeffcrom: The clarinetist on your Sir Lancelot 78 is most likely by a musician known by various names but who generally recorded on Calypso records as Gregory Felix. I've heard him as a sideman on some Gerald Clark recordings, and your description of his playing is consistent with his sound. Here's some more background information: Sir Lancelot often performed with bands let by Gerald Clark. I found a reference on line linking Sir Lancelot to a recording on Keynote (#548) of "Scandal in the Family" where he is backed by Gerald Clark's Carribean Serenaders. Sir Lancelot earlier sang the tune in the 1943 movie "I Walked With A Zombie." Link to some information on Sir Lancelot: http://www.calypsoworld.org/noflash/songs-10.htm#1 Link to picture of Keynote 78: http://www.calypsoworld.org/songs/scandal.htm Other information on line suggests a 1946 recording date. See, for example, the following from: http://www.robomod.net/pipermail/madness/2...uly/000294.html >>> [5] - SHAME AND SCANDAL'S FAMILY TREE The earliest known version of the song "Shame and Scandal" features in the RKO-film "I Walked With A Zombie." (Black and white 1943). Actor Lancelot Pinard Sings "Shame and sorrow for the family" in this film in a Calypso style version of the tune with differing lyrics to the new Madness single. This song tells the story of a woman doing it with her husband's brother and then she gets cursed and turns into a zombie. It is sung in a cameo spot in the film, to stir the plot by letting the cat out of bag on certain family issues and to embarrass the films lead characters. In the film script for I Walked With A Zombie this song is mentioned as "The Fort Holland Calypso Song" after the place of the scene. Co author Ardel Wray was involved in the script writing, so at first the song may well have been written for the film exclusively. This version was released on record by "Sir Lancelot with Gerald Clark's Calypso Serenaders" (1946) on Keynote as "Scandal In The Family" again he sings "Shame and sorrow" instead. It was reissued on Mercury in 1953 and it then triggered covers by the dozen. >>> The quote above appears to mistakenly refer to "Calypso Serenaders" rather than "Carribean Serenaders" unless it was also issued as such (but the picture of the 78 clearly indicates "Carribean." They Keynote label was sold to Mercury, so there's another clear connection here to your Mercury 78. Clark's clarinet player was usually Gregory Felix. Pages 105-106 of the following provide more information on Gregory Felix: http://redalyc.uaemex.mx/redalyc/pdf/377/37719206.pdf Felix (real name Gregorio Felix Delgado) performed earlier with notable groups including James Reese Europe's Hell-Fighters and Fess Williams and his Royal Flush Orchestra. Although his early recordings were in a jazz vein, he later switched to calypso music, a genre in which he became well known. As explained in the prior link, Gregory recorded at various times under the following names: - Gregorio Felix Delgado - Gregorio Felix - Gregory Felix - Felix Gregory

Saxpet: Are you certain that Picasso is based on the chords of Body and Soul? My recollection is that some have argued either that it may be based on another tune ("Prisoner of Love" or am I confusing this with something else?) or on no tune at all. I think Chilton said something about this in his Hawkins biography. Let me see if I can find it... OK. Check out pages 260 and 261 of John Chilton's "The Song of the Hawk." He argues that "the improvisations are not based on any standard harmonic progression." Here's a link that may or may not work: http://books.google.com/books?id=54EX2a-kf...esult#PPA262,M1 It might be intstructive to check out the liner notes to the expanded, CD reissue of the "The Jazz Scene" to see what, if anything, is said there regarding the basis of Picasso. I don't have access to that at the moment.

For later Steward, there was an LP on Famous Door (which may have been reissued on CD). I recall also having an LP of his on Ava -- more of an "easy listening" session as I recall.

Lazaro: It's a commercial recording from the early 70s. Appears to be available still from Audiophile: http://www.jazzology.com/item_detail.php?id=ACD-238

I heard a bit of the CD earlier this week while checking in new releases at the station. Based on what I heard, I can't argue with the assessment offered by John Norris. Bennett is fairly young, so perhaps he'll find his own voice in time.

Good point. I guess the notation "Promo!!!" should have tipped me off if I had bothered to read the description. I gave up after awhile trying to discern some information from the blurry image...

I thought that there were some licensing issues that came up unexpectedly on the Stuff Smith set that caused it to be withdrawn suddenly.

Here's a link to another image: http://cgi.ebay.com.hk/ws/eBayISAPI.dll?Vi...3&indexURL= This one doesn't look like a promo.

*****SPOILER***** Not sure why you don't want to check. If you don't want the answer, don' read what follows. If you want a better answer, there's this information from an on-line Armstrong discography: >>> On Her Majesty's Secret Service (film) October 28, 1969, London, England We Have All The Time In The World -- United Artists 50617 Pretty Little Missy (Armstrong, L.; Kyle, B.) -- United Artists 50617 Armstrong, Louis (Trumpet, Vocal) Barry, John (Conductor) Unknown personnel (Orchestra) Armstrong's first recording since suffering major health problems in late '68 and early '69. >>> So, that was not his final "studio" recording. Not even close. Here's what appears to be his last: >>> Louis "Country Western" Armstrong August, 1970, New York, NY Miller's Cave Almost Persuaded Running Bear Get Together Crystal Chandeliers You Can Have Her The Easy Part's Over Now Black Cloud Why Did Mrs. Murphy Leave Town Wolverton Mountain Ramblin' Rose Crazy Arms Armstrong, Louis (Vocal) Eubanks, Jack (Lead Guitar) Basore, Stu (Steel Guitar) Grammer, Billie (Rhythm Guitar) Butler, Larry (Piano) Strzelecki, Henry (Bass) Ackerman, Willie (Drums) An odd ending to Armstrong's pioneering studio career. The instrument tracks were supposedly recorded in Nashville with Armstrong recording his vocal tracks later in NYC. However, pictured below are Louis and the "Nashville cats". To his left are Willie Ackerman, Henry Strzelecki and Stu Basore. (Photo courtesy of Trey Ackerman.) [Photo not pasted here] >>>

Didn't realize you had the cover. No matter. Slow day at work... That's right. Mine has the finished cover. Many test pressings just came with an inner.