jazztrain

Big Beat Steve: Apparently the Japanese are to blame. I just pulled the Prestige twofers (24073, 24074, and 24075) as well as the three-LP set (34004). They all contain the following notation: "Reprocessed, from original source material, by Jerry Valburn and Jack Towers." Therefore, the discography that you mention below apparently confuses the reference to sound restoration on the LP packaging with the original source of the material.

There are a lot (to put it mildly) of George Lewis recordings that have been issued over the years. There's a certain sameness to the recordings (similar groups, similar material). Some of the material was recorded at live concerts, and the fidelity of some issues leaves a lot to be desired. One George Lewis recording that stands out for me and which I've recommended to others is a trio session where he plays spirituals ("George Lewis Plays Hymns", Milneburg Records MCD 1). It's from 1964. And I just noticed that it was mentioned in Paul's original question that started this thread (missed that reference originally). So, if you are predisposed to jazz versions of spirituals, definitely go for that one.

OK, there are a few issues to address here. First of all, Fletcher Henderson obviously never recorded for Prestige. However, two Fletcher Henderson sessions (one of which was issued under the name of Horace Henderson and His Orchestra) appear on Prestige 7645 ("The Big Bands/1933"). The first of the two Henderson sessions, from September 22, 1933, was recorded for Columbia. The second of the two Henderson sessions, from October 3, 1933 was recorded for English Parlophone and issued under Horace Henderson's name (although it's exactly the same group). Horace Henderson is on piano for both sessions. Next, the reference to "light fingered" Jerry. My understanding was that it was an associate (referred to as "Charlie Cats" or something like that on some of the LPs) of Jerry who had access to the Columbia vaults. Whatever the source, Jerry was able to issue a lot of material that otherwise would have unlikely seen the light of day on a host of labels including Meritt, Blu-Disc, Up-To-Date, DETS (Duke Ellington Treasury Series), Everybodys, Jazz Archive, and Aviva (and I'm probably forgetting a few). The Michel Ruppli Prestige discography lists all licensed material in a different section to Prestige's own sessions. And all Ruppli label discographies that I've seen do the same. Perhaps there is some kind of logic fault in Brian or whatever the discographical database Mike works in is called. It was, I guess, designed with the usual discographical purpose - artist discography - in mind. MG

There's still one more item worth noting that is not on the Japanese LP box set. From the Coleman Hawkins Quartet session on February 17, 1944 there's an alternate take of Cattin' At The Keynote." The alternate was included on "Jazz Potpourri Volume Three 20 Collector Items 1933-1947)" (Meritt 25). The insert notes to the LP provide the following information and credit the late Bob Hilbert as the source: "This alternate take was discovered after the "complete" Keynote boxed set was issued in Japan. Copies of this take have been found on Keynote K612, the only visual difference being that the regular take has the matrix number as HL 15, with a "6" written over the 5. The alternate take, re-issued here for the first time, shows the correct matrix number, HL 16, in the wax. Of course, there are many audible differences in the performances, beginning with the introductory breaks between Wilson's brilliant piano and Hawkins' hot sax. Hawkins (sic) solo on this take is even more propulsive than on the common one. (Bob Hilbert)" As a final note, the insert notes date the session as July 23, 1944. Other sources provide a recording date of February 22, 1944. The matrix numbers are consistent with the February date.

Jaffa: It's not on the Japanese LP box set. The discography from the box set lists the session, indicates a recording date of c. 1946, shows that the pairing was issued on Keynote K665, and indicates that the personnel includes Bill Darnell (vo), Babe Russin (ts), and others unknown. The discography also notes the following: "Note: Session privately produced by Bill Darnell and subsequently sold to Keynote. Details not known. Even Harry Lim said he never heard K665. These masters never found, nor 78s, therefore not included in this collection." What is your source of the date of the session? Can you tell aurally if its from the same March 8, 1946 Babe Russin Quintet session? Any comments on the music? The discography from the Japanese box sets includes references to a few other sessions that may be worth noting for completeness: >>> HORACE HENDERSON ORCHESTRA: Buck Clayton (t), Eddie Bert (tb), Aaron Sachs, Hank D'Amico (cl), Horace Henderson (p), Hy White (g), Billy Taylor (b), Specs Powell (d). New York, March 16, 1945. HL86 'Deed I Do Jamboree 908 HL87 Make Love To Me Jamboree 909 HL88 Bunch of Rhythm Jamboree 910 HL89 Smack's Blues Jamboree 910 Note: Session originally produced by Harry Lim for Keynote issue but somehow these masters were sold to Jamboree, therefore not included in this collection. >>> My recollection is that one or two of these sides show up in rather poor sound on a Swingtime LP. Here's another session worth noting: TEDDY BUNN'S TEDDY BEARS: Peanuts Holland (t), Herbie Haymer (ts), Arnold Ross (t), Charlie Drayton (b), Rollie Culver (d). Los Angeles, May 29, 1946. Sunday unissued I Wished On A Moon unissued After You've Gone unissued Note: Previous discographies often include this date as unissued. Keynote session but these masters were never found. According to Harry Lim this date was not his session, although it seems to fill the missing HL98, 99, 100 matrixes. There's also a note regarding the Herbie Haymer's Orchestra session from March 30, 1946 that the missing master HL137, possibly from that date, was never found and that no further details are available. Yikes, here's still another note. For the November 15, 1946 date by Bud Freeman and His Orchestra, there's a note that the session was produced by the founder of Keynote Records (Eric Bernay). The other masters from the date (KTS01,2,3,5&6) all feature unknown male folk singer. Masters KTS-1 & 4 are the two-part "Town Hall Blues."

Reiner: I'd recommend that you start with "Bass Line." In addition to some choice photos, it also contains Hinton's recollections of his life and career. "Over Time" is mostly a book of photos.

LWayne: You might try what looks like the label / booking agency e-mail address: bluegeo@bluegeo.com Some information on line indicates that the late James Williams was the producer for the session. The Blue Geodesics website (http://www.bluegeo.com/) shows that some of his former associates (such as Donald Brown and Bill Mobley) are represented by Blue Geodesics and by an associated record label (Space Time). Here's something from an All About Jazz story from 2004: >>> Space Time Records has exclusively released some sessions of two amazing musicians who died recently : the very rare Memphis pianist, the “secret agent of jazz” and prince of bop : Charles Thomas (3 albums with musicians such as Ron Carter, Billy Higgins, Ben Riley, Ray Drummond, Alan Dawson �) and the legendary Bostonian drummer : Alan Dawson with his this only album he has ever recorded under his name : “ Waltzin' with Flo”. >>> Let us know if you get any response. By the way, I had the pleasure of seeing Alan Dawson live and close up on numerous occasions. He was the first call drummer for years in the Boston area, with good reason.

King Ubu: A few more corrections or additions to your listing for one of my favorite labels: (1) First, the billing for the January 31, 1944 date should be "Coleman Hawkins Quintet Featuring Teddy Wilson" (not "Coleman Hawkins Quintet"). (2) Next, the following listing is wrong with respect to recording date and personnel: Cozy Cole All Stars Roy Eldridge (tp), Coleman Hawklns (ts), Teddy Wilson (p), Billy Taylor (b), Cozy Cole (d) New York, January 31, 1944 JUST ONE MORE CHANCE (5:04) (*) JUST ONE MORE CHANCE (4:51) THRU' FOR THE NIGHT (4:46) (*) THRU' FOR THE NIGHT (4:42) Those sides were recorded by the Cozy Cole All Stars at the same February 22, 1944 date at which "Blue Moon" and "Father Cooperates" were recorded. (3) For the Kansas City Seven date from March 22, 1944, it's Freddie Green (not Freddy Green) on guitar. Dickie Wells and Buck Clayton are not present on "Lester Leaps In." (4) For the Rex Stewart's Big Eight session from June 5, 1944, add the annotations that Carney plays bass clarinet on "The Little Goose" and on "Swamp Mist" and that Tab Smith plays clarinet on "Swamp Mist." Note also that this session was originally issued on HRS. (5) A real minor one here: On the August 1, 1944 Billy Taylor's Big Eight session, Brick Fleagle should be "(g, arr)" instead of "(g, an)" (6) On the October 17, 1944 Coleman Hawkins Quintet session, remove the asterisk (*) after "Under A Blanket of Blue." That side was issued on Keynote. (7) On the December 12, 1944 session by George Wettling's New Yorkers, Jack Teagarden sings on "Home" and on "You Brought A New Kind of Love." (8) The January 10, 1945 session by Chubby Jackson And His Orchestra appears to be missing. OK, it's there but out of sequence. On that session, the pianist in Ralph Burns, not Ralph Phillips. (9) On the February 2, 1945 session by Cozy Cole And His Orchestra, an asterisk (*) should be added after "Lover Come Back To Me" since it was previously unissued. (10) The April 5, 1945 session by Bill Harris And His Septet is out of sequence. The second title recorded is "Characteristically, B.H." (the listing is missing the periods). (11) A few minor things with the August 17, 1945 session by the J.C. Heard Quintet: (a) missing question mark (?) after "Why Do I Love You" and (b) missing periods in "Groovin' With J.C." (12) On the October 19, 1945 session by Irving Fazola's Dixielanders, it's "Clarinet Marmalade" (not "Marmelade"). (13) The Chubby Jackson's Rhythm session from November 29, 1945 is out of sequence. (14) On the first (December 5, 1945) session by Bud Freeman's All Star Orchestra, Peanuts Hucko also plays clarinet on "You Took Advantage Of Me." (15) The second session by Bud Freeman's All Star Orchestra is from December 10, 1945 (not December 5). The personnel is inaccurate in many respects. I suggest the following as a replacement: Bud Freeman’s All Star Orchestra Charlie Shavers (tp), Vernon Brown (tb), Edmond Hall (cl), Bud Freeman (ts), Gene Schroeder (p), Bob Casey (-1) or John Simmons (-2) (b), Dave Tough (d) New York, December 5, 1945 BLUE ROOM (2:57) (-1), Vernon Brown out TIME ON MY HANDS (3:08) (-2) I FOUND A NEW BABY (2:54) (-1) ROYAL GARDEN BLUES (2:43) (-2) MIDNITE AT EDDIE CONDON’S (2:52) (-2) INSIDE ON THE SOUTHSIDE (2:43) (-1) (16) For the Ted Nash Quintet session on January 25, 1946, you're missing Marie Bryant (vocal) on "A Pocket Full Of Dreams" and "On The Sunny Side Of The Street." (17) For the February 16, 1946 session by The Keynotes, the correct title of third tune is "Airiness A La Nat" (18) For the Mannie Klein All Stars session on February 22, 1946, the third tune is "Bei Mir Bist Du Schoen" (19) For the Juan Tizol And His Orchestra session from April 7, 1946, Willie Smith is the vocalist on "You Can't Have Your Cake And Eat It." (20) The Bernie Leighton Quintet session from April 29, 1946 is out of sequence. It should be moved to immediately follow the Marie Bryant session from the same date. It's the same group without Marie Bryant. (21) For the Bennie Leighton Quartet session on August 9, 1945, add a question mark (?) after "Have You Met Miss Jones" (22) The discography from the Keynote box indicates that for the George Barnes sextet sessions, the first four tunes are from September 20, 1946 and the last four from September 23. The correct title of the fifth tune is "Quiet, Two Gibsons At Work" (23) Dave Lambert And Buddy Stewart With Red Rodney's Be-Boppers: Last tune is Gussie "G" (quotes missing) (24) On the Gene Sedric Orchestra session (note billing) from December 11, 1946, Sedric and Slick Jones also have vocals of a sort on T-I-L-L-I-E. Many of the lattter sessions are listed out of sequence.

A correction to your correction: It's Edmond Hall (not Edmund).

The four starred sides are from a July 27, 1944 date issued on Manor and on Regis. They were previously reissued on LP on Onyx 217. The personnel are: Charlie Shavers (t), Edmond Hall (cl), Coleman Hawkins (ts), Clyde Hart (p), Tiny Grimes (g), Oscar Pettiford (b), Denzil Best (d). My recollection is that Edmond Hall only plays on two of the sides. Two other selections from that date (Shivers and It Had to Be You) were apparently not issued.

A closer inspection of my copies of Lunarcy, Ya Know, and By Myself shows that they're all on Verve in their "Gitanes Jazz Productions" series.

I'll second the recommendation on "Lost in the Stars" with Bud Shank. Check out Levy's work as a sideman on "A Ballad Album" with Warne Marsh on Criss Cross --one of Marsh's more conventional albums, but some of it is stunning. Levy made a few albums as a leader in the early 90s on Verve and/or Gitanes. Lunarcy (on Verve) was mentioned by Pete B. From about the same time there's a solo effort ("by myself") and a quartet album ("ya know") with an usual lineup (piano, two basses, and drums).

Larry Kart wrote: >>> But, since he was not a harsh man, Woody told Serge he could stay with the band until they reached Boston on their tour (this was Serge's home town). One night before that the band played at a place whose name I forget. It was something on the Charles, a local river. >>> Most likely it was Nuttings-On-The-Charles in Waltham, Massachusetts (not far from Boston): http://www.city.waltham.ma.us/main4.htm

I've always heard (and used) man-DELL.

I've always heard it with the accent on the first syllable.

He appears to be in the San Diego area: http://promusic325.org/ContentPages/InstructorsContent.html

Yes, Lester Bowie.

Here's at least a partial list of Prevue issues. Only some of them were reissues of Xanadu LPs: 1. Various. Jazz World of Don Schlitten. 2. Jimmy Heath. Picture of Heath. 3. Kenny Barron. At the Piano. 4. J. R. Monterose. The Message. 5. Red Rodney. 1957. 6. Coleman Hawkins. Jazz Tones. 7. Sonny Criss. Saturday Morning. 8. Jimmy Raney. Solo. 9. Thelonious Monk. Live At the Village Gate. 10. Lucky Thompson. Brown Rose. 11. Tommy Flanagan. Trio & Sextet. 12. Barry Harris. Plays Tadd Dameron. 13. Cecil Payne & Duke Jordan. Brooklyn Brothers. 14. Jimmy Raney. Live In Tokyo. 15. Elmo Hope. The Beacon & Celebrity Trio Recordings. 16. Ray Brown. Blues for Jazzbo. 17. Willie Dixon. I Think I Got the Blues. 18. Willie Dixon. What Happened to My Blues? 19. Teddy Wilson & Marian McPartland. Elegant Piano. 20. Doug Raney. Everything We Love. 21. Ray Brown. Moonlight in Vermont. 22. Hank Jones. Darji's Groove. 23. Jimmy Raney. The Influence. 24. Barry Harris. Tokyo: 1976. 25. Marian McPartland. Live at the Carlyle. 26. Dave McKenna. Cookin' at Michael's Pub. 27. Ted Curson. Plenty of Horn. 28. Al Cohn & Jimmy Rowles. Heavy Love.

It's not uncommon to use astronomical in this sense when speaking of odds ("a million to one") rather than chances or likelihood (one chance in a million). Flanagan played and recorded both tunes during the same concert in July 1977 at Montreux (Pablo Live album "Montreux '77"), so it's not so unlikely that he might have played them together on other occasions. Flanagan had also recorded "Barbados" more recently in April 1990 on "Beyond the Blue Bird" (Timeless). Of course it must have been quite a surprise to Murakami when it happened.

Bertrand: Here's the answer to your first question: Rose Room (Art Hickman, Harry Williams) Mary Osborne (g), Leon Prima (t), Julian Lane (tb), Irving Fazola (cl), Pete Lauderman (p), Frank Frederico (g), Bunny Franks (b), Charlie Drake (d). 2nd Esquire Concert, Municipal Auditorium, New Orleans, January 17, 1945. Blues in Mary's Flat (Osborne) Oops My Lady (Osborne) Mary Osborne (g), Sanford Gold (p), unknown b and d. New York City, mid 1946.

Berry also appears on a couple of Keynote sessions, including the "Little Jazz" and His Trumpet Ensemble session along with Roy Eldridge and Joe Thomas.

It is possible to repair some locked grooves and some skips by very carefully using a suitable implement to reopen and/or realign the damaged grooves. In years past (when I had somewhat better eyesight, more patience, and more free time), I had some success in using a sewing needle to help reestablish the intended stylus path in the vinyl in some damaged LPs with the result that they became playable. It was only worth the effort in cases where a better copy of the record was unavailable and where the duration of the damage in the vinyl was limited to a few revolutions. Of course, there was also the risk of botching the operation (but if you were starting with a damaged record, what did it matter?). If you're tempted to give this approach a try, it's best to practice on something relatively worthless to develop your technique.

"Somethin' Special" - Groove Holmes Clifford Scott appears as "Joe Splink"

"The College Concert" was reissued in Japan. I got a CD copy from a member of this forum a month or two ago. The one on Columbia is titled New Groove and was reissued on Collectables. The Impulse! is Ask Me Now! I really love the one he did with Henry "Red" Allen: The College Concert of Pee Wee Russell and Henry "Red" Allen which is also on Impulse! and shamefully never reissued on CD to the best of my knowledge.

beast part? gunna? its? did'nt? Please, just go away...