jazztrain

You're not alone with this problem. The station that I'm on (WMBR) is also at 88.1 Mhz, and we have been receiving increasingly frequent reports of this sort of interference. Here's the URL for an article that describes the problem: http://www.boston.com/ae/tv/articles/2006/...me_fm_stations/

Bob Wilbur also has always played soprano well.

My recollection is that "Blue Goose" (1940?) was the last commercial side that Hodges recorded on soprano sax. Here's something from Steve Lasker that I found on line that suggests that he played it into 1941: >>>> When did Hodges lay down his soprano sax? 04/1 DEMS 14 See DEMS 03/3-20/2 Sjef Hoefsmit cites "after 2Nov40." While this is the date of the last known recording of Hodges playing soprano, he also played it in 1941 during the run of "Jump for Joy." George T. Simon's review of that show for "Metronome" (Oct41, p20) notes that "Hodges came through with some marvellous soprano saxing" on Shh! He's on the Beat! (Simon's review is reprinted, without attribution, in Ken Vail's "Duke's Diary Part One" on page 202.) Steven Lasker >>>> Larry, in fact Hodges gave up the soprano on 1940. Legend says that Ellington loved its sound but refused Hodges’ demand that his stipend be doubled for playing it as well as the alto.

Zoot Sims and Budd Johnson also played soprano quite well. Jane Ira Bloom also gets a sound on the instrument that is quite listenable.

That one is tough to find. I never saw one in a store and finally got one used. It's companion Hawkins disc is hard to find as well. The Hawkins Live at the Village Gate disc was one of the first (and perhaps the first, now that I think about it) CDs that I purchased

PM sent on Morgenstern.

Another one that I often use around the holiday is the "Martin Luther King Jr. "/"I Know Love" pairing on Cecil Payne's Strata-East album (Zodiac: The Music of Cecil Payne). Looks like Cecil Payne recorded "Martin Luther King Jr." once more back in 1999 for Delmark.

Bertrand: For my radio show, I usually try to track down and then present composer credits and have come across many examples of errors of this sort. My guess is that they're usually due to a combination of laziness, sloppiness, or just plain ignorance. In one of the more bizarre examples, the composer credits for Mercer Ellington's "Things Ain't What They Used To Be" (sometimes Duke Ellington and Don George get partial credit as well), on the CD reissue of the Jim Hall Trio "Jazz Guitar" album creatively get transformed to to "Duke Ellington / Johnny Mercer"). A little knowledge can be a dangerous thing, indeed! I assume, but can't confirm, that the same error appeared on the original LP (can anyone confirm this?). By the way, there's a great version of "You're My Thrill" by Ben Webster on Emarcy.

Anybody ever hear these back in the day (or play them, if you're radio-biz folk?) Ghost: I don't remember them and I don't think I'd play them. A bit of web searching during lunch (needed a break) turns up a little information. It appears to be a 1975 program. There are references to 13 programs narrated by Ozzie Davis and to 13 programs narrated by James Earl Jones. Featured artists appear to include: Stevie Wonder, Isaac Hayes, Diana Ross, Paul Robeson, Barry White, Wilson Pickett, The O'Jay's, Donna Summer, and M. (presumably Michael) Jackson.

Michael: PM sent.

For those puzzle fans, note that the theme of yesterday's (Thursday, December 22, 2005) crossword puzzle in the New York Times is a quote from Miles Davis.

I once spoke with Bob Purkey on the phone! I was a salesman working my way through school at the time, in Pittsburgh, and I called an insurance agency. It turned out that he was the head honcho there. I asked him about the following story, which I think I read in Baseball Digest: The story goes that Bill Rigney, the Giants manager, was tired of Purkey throwing at Willie Mays. So he said that the next time they play the Reds and face Purkey, he's going to bring Mays in from the outfield and have him pitch to Purkey. The Commisioner, probably Ford Frick, immediately put in a rule, that I believe still exists to this day, that no one may pitch unless he is designated to be a pitcher on the roster. (Various publicity stunts have had I think Cesar Tovar and Jose Canseco and others pitch; and I believe that the Commissioner's office has always been informed in advance of the intention to use them on the mound.) Anyway, I mentioned this to Purkey, and right away he denied ever throwing at anybody, and he was very forceful about it. Since he was a favorite of mine when I was a boy, I believed him, sort of! GA: I don't believe there is any such rule, at least in the major leagues. It's not that unusual to have a "non-pitcher" come in to pitch for an inning or two late in a game if a game gets way out of hand. This allows a manager to preserve his staff in a game that's essentially already lost. However, there does seem to be some basis for the impression that Purkey may have had a reputation for throwing at Mays. Here's an excerpt from an article by Earl Lawson that appeared in the Cincinnati Post on March 18, 1997: Purkey was the first Red to make a strong bid for the Cy Young Award. It happened in 1962 when he went 23-5. That same season, Jack Sanford of the San Francisco Giants was 24-7 and Don Drysdale of the Los Angeles Dodgers was 25-9. The award went to Drysdale. It was Purkey's pitch variety, not his blazing speed, which dazzled batters. Still, no pitcher was prouder of his fastball. ''What people don't realize,'' Purkey said, ''is that I've got one of the best fastballs in the league. Other pitchers may throw theirs with better velocity, but I'll bet there isn't a pitcher in the league who jams Willie Mays more than I do.'' Admittedly there may be a fine distinction between "jamming" and "throwing at" but one thinks that Bob Purkey may have protested a bit more than necessary, especially if one assumes that he was quoted accurately by Lawson.

I believe that the third baseman for the Cardinals in the Roger Maris trade was Charlie Smith, not Charlie James. Jazztrain, I think you're right. I'm losing my mind! Was there a football player named Charlie James? A running back for the Redskins or a quarterback for the Cardinals? Edit: I'm pretty sure that the Cardinals QB was Charlie Johnson. Now I'm wondering if the Redskins halfback was Dick James. I'm thinking in the early 60s timeframe. GA: Not sure about Charlie James, but there was a drummer by the name of Charlie Smith who appears on a variety of records on labels like Bethlehem and Dawn. I think I have a re-issue of a Dawn LP with a group led by Aaron Sachs on one side and a group led by Charlie Smith on the other. Charlie Johnson is, of course, a name steeped in jazz history. There was one Charlie Johnson (a pianist) who led a great band (Charlie Johnson and His Paradise Orchestra) that recorded for Victor in the 1920s. If memory serves, there was a clarinetist/saxophonist of the same same who played and recorded with Tiny Parham and his Musicians, also for Victor, at about the same time. Okay, you got me curious. Turns out there was a major league baseball player named Charlie James and he played for the Cardinals in the early 1960s. But he was an outfielder, not a third baseman. The Cardinals traded him as well, in 1964, along with Roger Craig to the Reds in return for pitcher Bob Purkey. All these names from my younger days! Also, it turns out that Charlie Johnson was a quarterback for the St. Louis (football) Cardinals for much of the 1960s.

I believe that the third baseman for the Cardinals in the Roger Maris trade was Charlie Smith, not Charlie James.

And I guess we've got plenty of time to discuss other things while we wait for... uh... what is it we're waiting for now? ←

Almost certainly the same tune. Roland Hanna was the pianist with the Thad Jones/Mel Lewis band and would have played the tune with them. He also recorded it on his own. There also was some speculation that he might have had a hand in writing it.

Another one I like a lot is by Jim Cullum's Jazz Band (Columbia) - they give the score a dixieland interpretation, and it works quite well. Of course, the Ella/Louis and the Miles/Gil are tops in my book. Who is that professor/historian? ← Ghost: Although too late for your period of focus, there's a very nice version by the duo of Roland Hanna and George Mraz.

And you turned me on to Hanna via the same album as I recall. Another favorite is one called "Bird Tracks" on Progressive. He does a particularly charming rendition of "Barbados" that always moves me. BTW, Storyville has just reissued an obscure Roland Hanna solo session that was originally issued on the Hi-Fly label. The CD apparently has some extra material as well.

Lazaro: Thanks for the information. I've started to hunt around based on the information you provided and have a few follow-up questions for now: (1) When you refer to the copyright owner, are you referring to the owner of the composition or the performance? If it's the performance, do you need permission from the label, the performer or both? And if it's the label, it's not always obvious where to go, especially if you're playing music from 78s, from LPs issued by companies that are no longer in business, or from CDs issued outside of the U.S. Any suggestions? (2) Have you seen any guidance or information on what constitutes a "featured artist?" Does this cover just the credited leader or sidemen as well? (3) Is there an "easy" way to determine the copyright owner on the performance? It appears that stations affiliated with the Corporation for Public Broadcasting (which we're not) are exempt from at least some of these as a result of a private deal that they negotiated with RIAA and/or other parties. However, this doesn't help non-affiliated noncommerical stations. This all sounds like an enormous amount of work, especially at an all-volunteer, noncommercial station. In my case, there's no indication that the station would devote any resources to help pursue or obtain the needed waivers.

Two more specialized sources confirm the July 4, 1963 date. Robert Hilbert's discography of Pee Wee Russell shows July 4, 1963 as does Burt Goldblatt's "Newport Jazz History" which further indicates that the Monk/Russell set occurred Thursday evening, July 4, 1953, at Freebody Park.

I'm reaching out to others on the forum who may have radio programs that are streamed to and/or archived on the web. I was informed yesterday by management at the noncommercial, educational station (based at M.I.T.) at which I've had a show since 1987 of the following: >> I'd like to take just a moment to remind people that our webcasting license prohibits playing during any 3 hour period more than 3 selections from the same record or cd, more than 2 selections in a row from the same record or CD, more than 4 selections from the same artist or compilations, or more than 3 selections in a row from the same artist or compilation. If your programming requires you to violate these restrictions then the webcasting and archiving feeds will have to be disabled during your show. Please contact the tech department as far in advance of your show as possible so that they can arrange to shut off the webcasting software for the duration of your show. >> Since my show is typically "themed" (often featuring a single artist), these restrictions present obvious logistical problems and challenges. I'm apparently faced with completely changing the focus and structure of the program or simply having it pulled from the web. Do others operate under similar limitations or are other stations simply ignoring this restriction?

Me too. Been going for about 20 years. Looking forward to seeing old friends.

Mike: My recollection is that there were a few early examples of Goodman soloing on a brass instrument. Your question prompted me to browse through the early years of Goodman's recording career as documented in Russ Connor's "Benny Goodman - Listen to His Legacy." Here are two cases that he lists: (1) 12/17/27. Ben Pollack and His Orchestra. On "Waitin' for Katie" Goodman plays a 2-bar introduction to Jimmy McPartland's cornet solo and then joins in on a three part trumpet/cornet chorus involving Jimmy McPartland, Frank Quartell, and Goodman. (2) 1/4/28. Bennie Goodman's Boys. Goodman solos on both clarinet and cornet on "Jungle Blues." I have both of these upstairs and will take a listen later. Incidentally, no one seems to have mentioned either Jimmy or Tommy Dorsey. Although Jimmy was best known for his work on alto sax and clarinet and Tommy on trombone, they both soloed effectively in early years on cornet. - Jon

Hard T. Balli (like rally, sally, or tally) - et (like in "bet"). Accent on first syllable of name.

IIRC, Universal did not own Commodore at the time. I believe Mosaic licensed the material from Gabler/Commodore. The Pair cds were a different license with Gabler. Chuck: I think you're right. I had forgotten that Gabler still owned the catalog at that time, but I remember hearing that the license to Pair was the reason that Mosaic couldn't get the CD rights when they did the Commodore boxes. - Jon