adh1907

Yes, and an earlier one with a cheesy cover, ‘swinging till the girls come home’. Never seen in the wild. There is an amusing review of his first LP: https://jazzjournal.co.uk/2023/01/25/jj-01-63-tony-coe-swingin-till-the-girls-come-home/ By the Honourable Gerald Lascelles!

Don’t fall off the bridge, Tubby Hayes with Paul Gonsalves (plus Ronnie Scott and Tony Coe). Still some debate over which solo is Paul’s or Tony’s. I would agree it’s the fourth. Great album!

A long life and a great legacy. Nice tweet from his son Gideon: ‘Our Dad, the great Tony Coe, died yesterday evening. He'd want me to tell you about the time Duke Ellington said to him "When are you going to join my band ?" (Basie had already asked). But mainly I want to say how much we loved him and how much we'll miss him. Love you TC. Xx’

Good record but poor pressing. Mole Jazz I think? Their Tubby Hayes reissues weren’t much good either.

Bit late to this, I think that would be Annette Walker. I saw her tap dancing to Oleo at the Nu Civilisation Orchestra tribute to Joe Harriott in 2021. Xhosa was in the band but I think Nathaniel Facey accompanied her. She was brilliant. Have booked to see Xhosa at Cheltenham with Black Top. Thin pickings at this year’s festival. Too much pop pap. Jazz has been mainly exiled to a small arts venue.

Ps I will ask my 90 year old Dad about the Bodega. He used to frequent the Manchester jazz clubs in the 50s and 60s, and was a Club 43 member. To prompt him, where was the Bodega, Bill?

Am I misremembering but did I once read that Wayne suffered from asthma and that was reflected in his style? In the phrasing. No long Coltrane like lines. Anthony London

RIP. An interesting and long life. Used to see him playing in our local on Sunday nights many moons ago before he moved out of London. Anthony London

I think this is one of the best examples of Lee Morgan’s style ( and possibly Jackie Mclean), a classic.

Shame I missed that. John Edwards is brilliant, whoever he plays with. is Oto now a seated venue or still the old mixture of seats and standing? Haven’t been for a while.

Fascinating, thanks for posting that. Richard Williams has posted recently about his involvement with the Island demo so will be interesting to compare and contrast recollections. Verlaine is pretty scathing here about Eno, Island and the English more generally! Anthony London

This is brilliant, thanks. Never heard this before, Monk on good form, no need for Jeffrey, Monk is soloing throughout

Steve Kuhn with Pete Laroca and Steve Swallow on Contact records If you stick with it, Steve attempts to destroy the piano about 3 mins in. Are there any recordings of Steve with Coltrane?

Alyn Shipton has a new book coming about the 50s Mulligan quartets. Well covered ground I think, expanding it to cover the sextets would be interesting.

Interesting new book by Ray Kinsella, covered this morning on Robert Elms on BBC Radio London about 36 minutes in: https://www.bbc.co.uk/sounds/play/p0dsrx6f Slightly shocked to discover the book costs about £100! my impression is that he is countering the notion that the (mainly white) Club Eleven crowd was the start of Bebop in London. Sounds right up my street but not at £100 a pop!

‘Del Sasser’ featured on one of the popular Jamey Aebersold play along records, on a collection of Cannonball Adderley-related tunes, issued in the 80s I think. That’s how I learnt it. Plus, it’s a great tune to play. Anthony London

Saw ‘Tar’ yesterday, which comes in at around 158 minutes. Judging from the number of people who had to pop out for a few minutes during the screening, an intermission might have been helpful! Mind you, this was the afternoon cheap ticket performance, so it was an older audience in attendance. I do recall an intermission during a screening of ‘Out of Africa’ in the 80s, which was (according to Wikipedia) 160 minutes. Anthony London

My copy of the Harry Beckett Flare up reissue arrived today!

Ps wasn’t there some talk about a release featuring a live concert of Jimmy Witherspoon with Dick Morrissey? I think Simon Spillett may have been involved, but I may be mistaken.

I don’t believe the original Fontana release is a live recording; the sleeve notes may be misleading in describing a Dick Morrissey gig at the Bulls Head. I understand it was recorded at the Philips studio in Marble Arch. There is a live Storm Warning CD which I have, recorded at the Gallery Club in Manchester in 1966, remastered in Brooklyn and issued by Jazzhus in Taiwan. Quite an international effort! anthony London

From this morning’s Trunk mailing: ‘I've had a load of emails about Mole Jazz tees as they sold out fast - more will therefore be made in 2023. So, something to look forward to already. ‘ Anthony London

Yes, I saw that. Seemed odd that they sold out of all sizes so quickly. I would have expected the smaller sizes to have hung around for a bit longer! I wonder who has the copyright to the logo. Anthony

“Though he professes a great respect for the work of other musicians, he seldom waits to be asked before leaping onto a bandstand with them, horn in hand —and he eyidences little awareness of the tastes or sensibilities of themusicians playing vyith him. When be is around it is always a show, and it is always Tony's show, unless a bigger ham upstages him.”. That’s a brilliant description of the only time I saw Tony Scott in London where he leapt on stage at a Peter King concert at the Bulls head in the mid 80s and blew his clarinet like a maniac and disrupted the gig. It was fun at the time but King looked too embarrassed to stop him, I recall. Someone told me who he was as I didn’t recognise him from his 50s record sleeves, he looked wild!

A bit of a dim question, but 10” records are of a harder less flexible material to old 12”LPs. So, I have always been slightly wary of cleaning them with the usual solutions on my Moth machine. Should I worry? Anthony London Ps massive fan of 10” albums, I have lots and find the sound quality brilliant. Sort of closer to 78s than 12”. For example, Bud Shank and three trombones sounds great on 10”, particularly Shelly Manne’s drums. Never found a reissue with the same punch to it.

Sorry Niko, not Niki. Autocorrect. Apologies.