sgcim

5:50 A2 Soadades Composed By – John Carisi 3:08 A3 Wedding Dance Composed By – John Carisi 5:23 A4 Bleaker Street Composed By – John Carisi 3:22 B1 Eruza Composed By – John Carisi 5:09 B2 Flute Thing Composed By – Al Kooper 4:56 B3 Jes' Plain Bread Composed By – John Carisi 3:36 B4 The March Of The Siamese Children Composed By – Oscar Hammerstein II, Richard Rodgers 3:25 B5 Sunny Ever heard the successor? https://www.discogs.com/CollinsShepley-Galaxy-Lennon-And-McCartney-Live/release/3547091 Arranged By, Conductor – Mike Abene* Bass [Fender] – Bobby Cranshaw* Bass Trombone – Myron Yules (tracks: A3, B1, B3, B4), Paul Faulise (tracks: A1, A2, A4, B2) Design – The Forlenza Group* Drums – Mickey Roker Electric Piano [Fender Rhodes] – Herbie Hancock Engineer [Recording] – Frank Laico Engineer [Rerecording] – Paul Goodman French Horn – Joe DeAngelis* Producer – Bob Thompson Soprano Saxophone – Jerry Dodgion Trombone – Lloyd Michels (tracks: B1, B4) Trumpet, Piccolo Trumpet, Flugelhorn – Bernie Glow (tracks: A1-A4, B2, B3) Trumpet, Trumpet [Piccolo], Flugelhorn – Burt Collins, Garnett Brown, Joe Shepley Tuba – Tony Price* Written-By – J. Lennon - P. McCartney* Notes Myron Yules appears through the courtesy of Coral Rock Productions. Herbie Hancock appears through the courtesy of Warner Bros. Records. You're still not my best friend. You didn't listen to Soadades to see if it has that melody I wrote out. It starts on the second beat, three eighth notes followed by two quarter notes followed by two quarter notes, followed by four eighth notes, medium bossa nova tempo.

Thanks for mentioning the Marvin Stamm LP. I was featured at a jazz festival playing a transcription for guitar of a piece written by Carisi for Flugelhorn. I've been searching for that piece (it had a Latin title and bossa groove) for a LONG time; it's gotta be on that LP. Anything by Carisi is fine with me, but I didn't like the legit stuff I heard on Chirillo's CD. The only title that sounds Spanish is 'Soadades'. The title doesn't sound familiar, but I remember the beginning of the melody: A Bb A Bb A Bb D F A Ab - I forget the rest. Bossa Nova. for big band. Somebody check it out, please! I'll be your best friend! "Machinations" never came out on CD,

. I remember reading an interview with him in DB where he said that he lived on peanut butter until he started getting work. Phenomenal technique and ideas, but he always needed to shove that mic deep into the bell. RIP.

Even though I've put Guy Berger on ignore (and reading his post reminds me why), I read his post and can only reply: This is 'eh'? BTW, it was written by Dolphy!

Fresh Sound put this out, and after I picked up the Ellington re-issue of the CH Quintet with Dolphy, I couldn't see how you could go wrong with more Dolphy during this period. Dennis Budimir had not yet begun his long tenure as an LA studio musician, which he claims burnt out every bit of creativity he had as a jazz player, and he sounds very good here, acting as a good foil to the literally on fire Dolphy. This re-issue is worth getting just to hear Dolphy with a large string section. Hearing his incredibly strong sound with strings is a frightening experience; it was like seeing King Kong for the first time. He makes his appearance on 'Close Your Eyes', and it's like some wild beast has just entered what was a tranquil setting, and scares the schist out of you. Dolphy doesn't hold back as much as he did on the Ellington album, and isn't afraid to show his Bird roots, and maniacal chops on most cuts of this two CD re-issue.He seems to be everywhere at once on some cuts; playing difficult arrangements by the great Fred Katz, and then blowing his brains out on the solos. Katz isn't playing on this set; Nate Gershen takes his place as Katz writes the wild arrangements, composes most of the tunes, and conducts the approx. fifteen piece string ensemble. After hearing the much more laid back arrangements and tunes Katz did for the original Hamilton Quintet, I wasn't prepared for some of the more dynamic writing Katz does here, and he seemed to be writing with Dolphy and Budimir in mind. While there are sections of the Cool, chamber jazz from the original Quintet, many of the cuts were virtuoso showcases for Dolphy (on alto, bass clarinet and flute), and Budimir. It almost sounds surrealistic to hear Dolphy play the A section to 'Under Paris Skies' with a classical sax vibrato, and then loosen up and play the major key sections with a swinging mainstream sound, and then later take no prisoners on his solo. Almost every tune on this set is arranged episodically, with most of them providing enough blowing space for the soloists before going back to the original statements of the themes. This could have been one of the all-time top West Coast groups, but it ended when Budimir went into the studios, and Dolphy left to launch his own career, and then join Mingus. Even Hamilton plays some inspired stuff using brushes that I never heard him do much of in the comparatively sedate original group.

I just got done listening to 'The Complete Studio Recordings of the Chico Hamilton Quintet featuring Dolphy and Dennis Budimir', and it is absolutely astounding how Dolphy had mastered the mainstream idiom during this time period! They have him performing with an entire string section, and IMHO, he surpasses Bird, Stitt and Woods in his sound, inventiveness and technique during this period. As Roland Kirk said,"You gotta master inside before you can go outside".

I clicked on the link, but didn't see anything about Smith

It's the end of the world.

That's how it should go, but i still remember the prick tenor player that made me sight read 'Inner Urge' on one of those gigs many moons ago. He's got a non-music-related day gig now, which is where he belongs.

That Jon Hiseman bio is going for $160 on Amazon!

They do a live, thirteen minute version of 'Cheek To Cheek' with the old quintet in '77(w/Melillo and Leahey) that soars into the stratosphere. Woods and company were burnin' back then.

Yeah, I posted here about emailing his nephew, and he said that DG was living in seclusion, practicing Zen meditation in his parents house in Astoria, NY. His nephew said he had some reel-to-reel tapes of his uncle playing at home at the Sunday afternoon family gathering jam sessions they used to have at his house in Queens. His wife was a vocalist. I asked him if I could check them out/copy them/buy them, or whatever, and he got all upset, so i dropped it. BTW, I finally picked up the Oscar Pettiford CD 'Discoveries', with him, Eddie Costa and Ed Thigpen playing 'Taking a Chance on Love'- great stuff! Also Costa on A.K. Salim's, 'Blues Suite, which has a great Costa feature on it. Still looking for the Andre Hodeir date.

Thanks for the article. It has a link to the VV article on LG's death, which mentions that her daughter Deborah Gordon is going to take over the VV.

RIP. He was one of the earliest heavy jazz-rock drummers I used to listen to during his Colosseum days.

I saw him come out with the tank twice- once at MSM with the MSM Big Band playing Cannonball's part in a recreation of the "New Bottles, Old Wine' album, and it was the same thing; gasping for air when he wasn't playing. The second time was at a clinic he did at LIU in Brooklyn. he walked in late, dressed like a lumberjack, dragging his tank behind him on a little dolly.

I remember talking about PW's emphyzema, with Wayne Wright, who himself was undergoing an experimental treatment for the disease at the time (he passed away six months later). When I told him Phil also had it, he wasn't surprised. He had been on the road with Phil, and he described his behavior as "sinning". I asked him what he meant, and he said, "Oh, you know, just sinning in every possible way he could; smoking, drinking, gambling, cussing- just sinning in general!" When I told my devout, Lutheran brother that story, he came up with a nickname for him; 'Filth Woods'.

But That's A Queer Trait Just Mine?

I'm pretty much depending on the royalties from my OSLT patent to fund my early retirement...

Or Something Like That; I believe that is my own creation, and I am currently involved in securing a patent for it, so I can collect royalties every time it's used... Joey Goldstein told me you showed up at his gig Monday night. He laments the fact that you're not on the air anymore, as I'm sure anyone who digs jazz in Toronto also does.

I just saw an interview with PW from Hamilton College on you tube. The interviewer asks him if there were any albums he regretted making (OSLT). PW answers: "Well there's always 'Greek Cooking'..." and then they both cracked up laughing.

I played 'Borderline' on 100s of gigs. Little did I know that an ex MD sideman wrote it. RIP.

Whoa, man! Thanks for that! Great arr. by CB, and yet more superlative PW. Was that from a record PW made with CB, or was that just made for the compilation? I'm sorry, but PW didn't engage in 'bells and whistles', and after 1957, there was no 'period' where he got worse. It was straight ahead till the disease made it impossible for him to play at that level.

Back in college, I was warned not to go down to the first floor by my teacher; she said there was a student who freaked out, and was attacking students with his trombone.

RIP. I was playing at a NY jazz club years ago, and I met his ex-wife hangin' at the bar.