bichos

another year: and another happy birthday to you, catesta! keep boppin´ marcel

also from here: happy birthday and all the best to you, brownie!!!!!! keep boppin´ marcel

thanks for this-very helpful because of the camel caravan infos (which i collect). keep boppin´ marcel

have a happy birthday, holy ghost! keep boppin´ marcel

i have this "lullaby of rhythm" for years in my collection and i don´t think that it is fats navarro on trumpet! the trumpet sounds totaly different and has nothing from fats! in the "bird lore" charlie parker discography by piet koster (almere 2002) this tune is within the cafe society jam sessions from june 8, 1950. the personal is (possibly) kenny dorham, tp, tony scott, cl, dick hyman,p, possibly chuck wayne or mundell lowe, g, probably leonard gaskin,b, ed shaugnessy, d. the piano has the typical block accords of george shearing but dick hyman is a good possibility because he can play all (!) styles of jazz piano! just a suggestion. keep boppin´ marcel

talking about "uptown": what happend to the "detroit jazz: jazz before motown" release that was announced years ago but never comes out? any news about this release on uptown? thanks in advance. keep boppin´ marcel

two of the three reviews are in the excellent book "the charlie parker companion- six decades of commentary" by carl woideck (schirmer books 1998): page 30: "in 1942, bob locke, reviewing the mcshann band in down beat, wrote: "charlie parker offers inspired alto solos, using a minimum of notes in a fluid style with a somewhat thin tone but a wealth of pleasing ideas."". page 32: "an october 1, 1944, review by johnny sippel in down beat, written while the band [eckstine´s] was at the regal theatre in chicago, notes. "driving force behind the reeds is charlie parker, destined to take his place behind hodges as a stylist on alto sax. after hearing this band doing six shows during the week at the regal, your reviewer didn´t hear repeats on many of the choruses which parker did. his tone is adequate, but the individualizing factor is his tremendous store of new ideas."". that´s all! keep boppin´ marcel

according to the book "charlie parker" by thomas hirschmann (tutzing 1994; only in german), there are only three articles that mentions parker before 1945: 1. barry ulanov and george simon: "mcintyre, mcshann lead fine bands", in: metronome magazin 58, march 1942, page 12, 22. 2. bob locke: "put full mcshann ork on wax", in: down beat magazin 9, 01. july 1942, page 4. 3. johnny sippel: "bands dug by the beat: billy eckstine (reviewed at the regal theatre, chicago)", in: down beat magazin 11, 01. october 1944, page 4, column 2-4. keep boppin´ marcel

and also on the italien moon label mcd-083-2. on the french classics 888 (not 588) is the first take of g.i. blues missing. keep boppin´ marcel

this was issued before on the "norma" label nocd 5661 in japan. and the two bonus tracks on "xanadu" 102 "bud powell trio in paris" and also on two other "xanadu" japan issues back in the 80´s. keep boppin´ marcel

here´s rene thomas live playing "theme for manuel": http://www.youtube.com/watch?v=QA0phKL1djQ really beautiful! what year was it? and a short clip with klook from the "blue note" 1965: http://www.youtube.com/watch?v=3BWIoG8L4Cg this is the first time i´ve seen the great rene thomas in motion. just wonderful!!!!!!! keep boppin´ marcel

i can only say that the photo was taken at 10:37. but i think that doesn´t help.... keep boppin´ marcel

i think this is intersting news. i have this information via the west-coast jazz list at yahoo: Cribbed from the Songbirds site: It's long, fascinating and awe-inspiring.. Jazzed Collector Columbus lawyer's rare historical videos displayed in Kansas City museum by Jim Weiker Columbus (Ohio) Dispatch, September 17, 2009 For more than four decades, John Baker quietly toiled on an obsession. Day after day, the Columbus lawyer would arrive home, retreat to his den and devote the remaining hours to playing, trading and gathering films of jazz musicians. One phone call or letter at a time, he systematically amassed what is now regarded as one of the world's foremost collections of jazz video -- more than 1 million feet of footage. Baker died in 1998, largely forgotten (The Dispatch wrote no obituary) as his collection gathered dust in a warehouse. But now, his peerless contribution to American music history is being recognized. On Friday, a month before what would have been Baker's 100th birthday, the American Jazz Museum in Kansas City, Mo., will open the "John H. Baker Jazz Film Collection," a permanent exhibit showcasing his treasures. "He was the godfather of jazz film," said Bob DeFlores, a jazz-film collector in Minnesota who helped Baker restore his collection in the late 1970s. "He was a pioneer. Thank goodness he started when he did." Baker was familiar to fellow collectors and to jazz musicians, including Louis Armstrong. His passion, though, was an eccentric one -- a devotion that extracted a heavy price on his career, family and finances. "That was all he was interested in," recalled the youngest of Baker's four sons, Robert, a mental-health therapist in Columbus. "That was a bone of contention in the family. Mom felt he was so attentive to the music but not so attentive to the rest of the family." The central question about Baker remains largely unanswered: How did a white lawyer in Columbus, who never played a note and was hard of hearing, become haunted by films of African- American jazz musicians? In a 1984 interview with the jazz newsletter The Mississippi Rag, Baker said his first exposure to the music dated from 1920, when he heard Mamie Smith's Crazy Blues at a friend's house. Baker took his love affair with jazz to Otterbein College and then Ohio State University, where he earned a law degree. By the time he left OSU in 1943 to join the Navy, he had assembled a formidable collection of jazz 78s. While Baker was stationed in New York, his infatuation with jazz took a notable turn after he came upon a store selling "soundies" for 19 cents apiece. A sort of primitive music video, a soundie was a three-minute film of a jazz artist or dancer that could be played on a device called a Panoram -- popular during the 1940s in bars, hotels and bus stations. The short films formed the start of Baker's collection (he would go on to collect almost all of the 2,000 soundies made). By the time he returned to Columbus after World War II, he had become consumed with collecting jazz films. As perhaps the first serious collector of such material, Baker had the advantage of limited competition. But he was also searching for truffles in a forest. He benefited from no collector clubs, swap meets or publications. He searched item by item, using the phone and the mail. "No one knows who John Baker is now," DeFlores said. "He's just a guy in Ohio who collected jazz. They don't know what he had to do to get what he did. He had to go overseas, go to labs, call producers, ship stuff all over the world." Little by little, his collection grew, housed in the den of the family's home on Weber Road in the Clintonville neighborhood. By the mid-'50s, he had grown enthusiastic enough about his gems that he would host parties for jazz buffs and visiting artists, including Armstrong, Eubie Blake and Jack Teagarden. "When I was 6, I sat on Louis Armstrong's lap -- so that would have been 1955," said Baker's son Jonathan, a teacher who lives in Columbus. "He gave my dad his drum set. We had it, but we destroyed it." Baker's single-minded attention to his collection was revealed when the family moved to German Village in the early 1960s. "My dad walked into the house and went straight to the basement and said: 'This will be my jazz room,'" Jonathan said. "He didn't care about the rest of the house." His sons recall little about the collection except the way it consumed their father's life and came between their parents. "I remember many, many times him coming home from work with film under his arm and saying, 'Where's mother?'" Robert said. "And he'd sneak it down into the basement so she wouldn't see it." "He was a lawyer who didn't make a lot of money, and everything was the deal," Jonathan added. "It was all about the deal." To help finance his film pursuits, Baker sold his 10,000 jazz records in 1972. (He had already sold his collection of jazz piano rolls.) He devoted his attention exclusively to jazz film and increasingly took his footage on the road. Pearl Bowser, an authority on African-American films, attended a Baker showing in San Francisco. "He was holding forth on the clips he was showing," recalled Bowser, who helped prepare the Kansas City exhibit. "I was so impressed by the sheer volume of his knowledge..."I was so impressed by the sheer volume of his knowledge...<WBR>. He was so thorough and so detailed; he could tell you the names of everyone on a clip, what instrument they were By the 1970s, jazz-film collecting had become a small industry, with collectors wheeling and dealing material worldwide -- many of them starting with copies of Baker's films. "That's how I built my collection," DeFlores said. "We were like kids trading postage stamps." But Baker also began to be overshadowed by younger, more media-savvy collectors. DeFlores doesn't think Baker has received the credit he deserves. His clips are the prime source for many images seen on TV documentaries, such as Ken Burns' Jazz; because they had been traded so many times by then, though, Baker isn't identified. "That's the sad part," DeFlores said. "There's no mention of John Baker on these documentaries, but they're using his footage." By the late 1970s, as he looked to retire, Baker sought a buyer for his collection. He settled on the University of Kansas, which in 1984 paid $200,000 for the films and Baker's notes. "The notes were prodigious," Bowser said. "They became a tome, a treasure-trove to exploring the films in his collection." Baker used the money to retire to Bonita, Fla., with his wife, Virginia, who died in 2007. "He collected a few videotapes after that, but it didn't last," son Robert said. "And he stopped listening to music altogether." He died in September 1998 as his collection sat in an underground warehouse in Kansas City. Early this decade, the jazz museum received a grant to begin restoring and digitizing the films in anticipation of a display, said Gregory Carroll, the museum's chief executive officer. A $312,000 federal grant allowed the museum to set up the exhibit, which is divided into soundies, movie clips and television video. "There are so many great clips," Carroll said. "There are several great films on Duke Ellington, Count Basie,... Lionel Hampton, Lena Horne, Anita O'Day, Ella Fitzgerald. It's just unbelievable. "You can put a price on the shape and condition of the films," he said, "but you can't put a price on the overall collection." As Carroll noted, the exhibit isn't the end of Baker's legacy. About 10,000 feet of film have been restored -- about 1 percent of Baker's efforts. keep boppin´ marcel

also from here: happy birthday, gslade! keep boppin´ marcel

Appears to include Arnold Ross, Count Basie and Willie Smith as well. just listening to the new hep cd: corky corcoran: the lamplighter all stars broadcasts-1945". t h a t i s i t !!!!!!! wonderful relaxed, live swingin´ sessions without time restrictions. (the tracks are between 4 and 10 minutes long). three sessions with emmett berry (what a wonderful trumpet player!), willie smith (good as always), corky corcoran (this boy can blow), arnold ross (with some of his best solos here- belive me!), allen reuss (playing also solo-guitar, rare!) zutty singleton (a master of the drums), jake porter, (a trumpeter who sounds very modern), barney bigard and some of the basie band including lucky thompson!! reminds me of the sunset all-stars recordings for the sunset label from the same year but this is live!! a wonderful cd that i can´t prise high enought!! together with the "lamplighter´s jazz sessions" on the "a jazz hour with" label from 1999 the only two medias that have this wonderful broadcasts! the last has also a rare track with oscar pettiford and his group from 1945. historic! go and get it!!!!!! keep boppin´ marcel

sidewinder, happy birthday to you! keep boppin´ marcel

keep boppin´ marcel

here´s another one: http://lesteryoung.dk/ happy birthday lester and keep boppin´ marcel

and there is still the information that sonny rollins has a tape of himself playing with charlie parker and lester young circa 1953. also, columbia records once announced a six-minute track by parker with young singing, of unknown date, but this was never issued. ca. 1954. information via the lester young discography "lestorian notes" by piet koster and harm mobach, micrography, amsterdam 1998. keep boppin´ marcel

here is a repost from an old post of me in the lester young corner: in july 2007 i contacted larry appelbaum from the loc in washington and asked him about plans to release the lester young sides. here is his answer: " Hello Marcel, I'm not aware of any plans to issue the Lester Young jam session materials. Any record label can do so as long as they get permission of the rights holders. So far I've not been contacted by any label and no one has come down to listen to the discs. Larry" and in a second mail he gave this information: "There's only about 15-20 mins of Lester, along with other items from the jam session (like Sammy Price trio performances). i would think this might be bonus material for a Lester Young reissue. Larry" that is both sad and surprise news for me. because i thought that there is a market for a legend like lester young and that this recordings go very quickly on cd (like the monk/coltrane one). but that´s not the fact. so we have to make propaganda and find a label who is willing to release this historical recordings. keep boppin´ marcel

there is a fine recording called "blues for gassman" (vittorio gasman, the famouse actor) from 1959 with the basso-valdambrini octet. (oscar valdambrini on trumpet). it´s on a "gmg" cd. (walter gürtler, vanni moretto, boris gürtler present). coupled with the "basso-valdambrini present dino piana" album from 1960. keep boppin´ marcel

"watermelon man" as the first track on the cover???????? one of duke´s biggest compositions and most famouse melodies......... keep boppin´ marcel

http://www.donglanden.com/DHS%20with%20bios.pdf has anyone seen this new documentary about clifford brown? the film is from jazz pianist don gladen and was premiered last tuesday in wilmington. sounds and looks interesting!! keep boppin´ marcel

happy birthday, jazzbo and all the best for your health!!! keep boppin´ marcel

what about: "boyd reaburn is playing dalvatore sally"? (was my first tought when i read the topic). keep boppin´ marcel