jazztrain

Berigan: I've been a BFT lurker until now. Stereo Jack passed along copies of your BFT discs on Sunday, and they've been keeping me company during my commute this week. Thanks for your selections! Here are my responses for Disc 1: 1-1: Sounds like Stuff Smith on violin, but with vibes? Doesn't make sense. Wait, that's Hampton on vibes. It's one of his west coast dates on Victor. That means it's Ray Perry on violin and perhaps Marshall Royal on clarinet. Good guitar and piano as well. I think the tune has "Fiddle" in the title. Is this the tune that was either left off or repeated on the left off the Mosaic box? Nice transfer. Will have to get the box. 1-2: Rex Stewart. Lion of Menelik. Carney on baritone. Sounds like Tizol on trombone. His tune perhaps? 1-3: Clarinet sounds a little like Bigard, but it isn't. Which means it's Woody Herman. Flip on tenor perhaps? Sounds like Woody again on alto as well. 1-4: Can't place the trumpet or piano. Wild guess: Freddie Slack? 1-5: Piano sounds familiar. Trombone sounds like Bill Harris but isn't. This is too long for a 78. I think I know. How about Earl Swope on trombone? Tristano on piano. Can't remember the tenor sax but he's wailing. Someone like Ray Abrams, perhaps? 1-6: I know this but can't place it. It's been haunting me. Eddie Lang is on guitar. Sounds like Jimmy Dorsey on clarinet and Venuti on violin. Is brother Tommy here as well? Maybe Arthur Schutt or Frank Signorelli on piano. What is this??? Argh! 1-7: Tea for Two. Can't recognize the trumpet. Nice piano. Bob Zurke perhaps? 1-8: Panama. What a bass! Has a New Orleans feel. Must be Pops Foster on bass. That could be Red Allen on trumpet. Yep. Luis Russel & His Orchestra. There's Higgy on trombone. Teddy Hill on tenor perhaps. Albert Nicholas on clarinet rather close to the mike. Charlie Holmes on alto. 1-9: I know the tune. Is it "Down South Camp Meeting?" Goodman and Henderson both recorded this tune but it doesn't sound like either. The tenor sounds like Charlie Barnet. Did he record this? The trumpet sounds like Bunny Berigan. Could it be his band? 1-10: Familiar chords. Can't place this. Not coming up with anything. Kind of a Will Hudson type arrangement. Don't know. Not coming up with anything. 1-11: Erskine Hawkins? Nice trumpet. Two trumpets? One open and the other muted. Very nice. 1-12: The tune reminds me of a Raymond Scott composition. Sounds like Bunny on trumpet (or am I being influenced by your avatar?). Good trombonist. 1-13: Art Tatum trio? Is that Everett Barksdale on guitar? Doesn't sound like Tiny. 1-14: Henry Allen and His Orchestra. One of the 1929 Victor sides. "Swing Out" perhaps? Great band. Teddy Hill on tenor? There's Red on trumpet. Higgy on trombone. Pops Foster booming throughout on bass. What drive! Go Red! Charlie Holmes on alto. Nicholas up high on clarinet. Wonderful recording. An old favorite. 1-15: The alto sounds a little like Don Stovall. That's Roy Eldridge on trumpet! Can't mistake him when he goes up high (or will I live to regret that statement?). Was that his brother Joe on alto? 1-16: The mood of this changes dramatically after the intro. This has a Bob Crosby like feel in some ways. Is it his band? 1-17: That's Cootie but not with Duke. It's with Goodman. Can't think of the name of the tune but I think it may be an Eddie Sauter arrangement. There's Benny. 1-18: This could be Henderson. Or the Mills Blue Rhythm Band. Or Don Redman? One of the riffs sounds like "Christmas Night in Harlem." Was that Hawk? Doesn't sound quite like him. How about Buster on clarinet? I'll go with Henderson as a guess. 1-19: Mannie Klein with the Hawaiians. Boy could he play. 1-20: Coming up empty on this one. Drummer prominent. Krupa? I like the piano. Who is this? Perhaps listening fatigue has set in. OK. Time's up. Need a break. Back for Disc 2 later. Many thanks again for the selections. Can I peek now?

Tom: Nice to have company! Now that I think back, I believe that they sent out a note saying that the magazine was temporarily suspending operation but planned to resume. Still waiting for that next issue...

I might still have a few in the basement, but I'm not sure if they went with me during the last move. I remember that the magazine died shortly after I renewed my subscription.

The Charlie Mariano material is from his Boston days. The CD issue combined material that had originally been issued on two 10" Prestige releases.

The Dave Remington album on which Frank Chace plays is on Jubilee. Neither Norman Murphy nor Marty Marsala is on that album. Chace is on an Atlantic album entitled "Chicago Jazz Summit" on which Wild Bill Davidson plays cornet.

The session is from November 16, 1957. Some information regarding this session is available at Tony Scott's website: http://www.tonyscott.it/day_in_ny.htm How, by the way, do I make this a link?

Apparently not the same Paul Gonsalves according to information in: Jazz in India: Perspectives on Historical Development and Musical Acculturation Warren R. Pinckney, Jr. Asian Music, Vol. 21, No. 1 (Autumn, 1989 - Winter, 1990), pp. 35-77 That source states: "Several other Goan musicians, including bassist Tony Gonsalves and saxophonists Paul Gonsalves (not the same Paul Gonsalves who joined Duke Ellington's band in 1951) and Rudy Cottton, recorded with Indian swing bands in the 1930s and 1940s."

Any idea of where you heard Cannady? He doesn't show up in the index of Connor's BG discography, so it doesn't appear that he recorded with Goodman. I'll bet you it was Cannady. I've heard him on record once, and he sounded a lot like Charlie. I think he may have briefly replaced Christian in Goodman's band.

It doesn't sound much like George Barnes at all to me. He was based in Chicago at the time, so it seems unlikely to be him. Here's what Dan Morgenstern writes in the notes to the CD: "One would like to know the identity of the well-featured guitarist; used by Lim for surrounding sessions were Dave Barbour and Irving Ashby, but this man sounds like neither. Barney Kessel has been suggested, but that doesn't ring a bell; another possibility is Ulysses Livingston, then with Carter." Livingston is definitely a possibility. Interestingly, however, Morroe Berger's "Benny Carter, A Life in American Music" shows one James Cannady on guitar with Carter around that time, with Livingston present earlier (up to late 1943 and perhaps into part of 1944). Anyone have any idea what Cannady sounds like?

Great concert. Glad to put a face to the name.

Larry: I found a reference in an on-line Columbia label discography to a recording of "If You Want To Love Me You Have To Cry" by Jo Stafford. It apparently appeared on CO 40595. The discography indicates that the label credits Allan Roberts and Albert Hague as composers. The ASCAP website credits Allan Roberts and Albert Hague as composers of "If You Want To Love" with a performance by Jo Staffard [sic]. Here's some more information from the ASCAP site concerning the song: Publishers/Administrators: HAGUE ALBERT MUSIC % THE SONGWRITERS GUILD OF AMERICA P O BOX 23710 NASHVILLE , TN, 37202 Tel. (615) 742-9945 ROBERTS ALLAN MUSIC CO % MUSIC SALES CORP 257 PARK AVENUE SOUTH 20TH FL NEW YORK , NY, 10010 Tel. (212) 254-2100 So, either this is the song that you're looking for or someone else looked up the title in the ASCAP files when the Johnny Janis LP was being produced and assumed it was the same tune. >>>> Larry Kart wrote: P.S. One of the songs from "Once In a Blue Moon" I've never heard of before, "If You Want To Love" by Hague and Roberts. Does anyone know where this song comes from and who Hague and Roberts are? I'm usually good at finding things via the 'Net, but I'm coming up with nothing. (I know of Albert Hague, of the musical "Plain and Fancy" and the song [among others] "Young and Foolish," but no online mention of that Hague links him to "If You Want To Love.")

Chris: Several years ago someone told me the real name of "Charles Cats." I don't clearly remember the name now, but I'm fairly sure it wasn't Driggs or Altschuler. Of course, the information may not have been accurate or may have been intended to mislead.

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