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since "up and at it" (with bit of strings at beginning) on "Down Here On The Ground" is an alternate take of "switchin'" (no strings) on "greatest hits" cd, then are all the strings overdubbed on the a&m releases. at least some of those tunes do sound like they could have easily been recorded without strings, and strings added at a later date. my only source "Wes Montgomery" by Adrian Ingram (1985) states that wes recorded with the strings.

on that list of the all the shows, those look like broadcast dates, not performance dates. >14.04.65 Wes Montgomery Quintet J an audio of this 'part 2' is available. part one is, of course, available on video. >27.10.65 The Wes Montgomery Quartet R1 wes was not in europe after march/april 1965. it's probably a broadcast of part one from march/april 1965. 05.01.66 The Thelonious Monk Quartet R3 >> jacques ponzio's chronology doesn't list this. it's probably a broadcast of either part one or part two from 1965.

also, ethan coen of the coen brothers published a book of short stories several years ago.

all charles bukowski short stories and novels all john fante short stories and novels and maybe you're ready for celine's journey to the end of night, and death on the installment plan.

one of the stories goes that the session date was set. hendrix was waiting in the studio (probably with alan douglas) for miles. miles either called to say he wasn't coming because of money issues, or he just didn't show up. this would be 1969 or 70.

i believe that this was detroit 66 or 67. and would be more interesting to me than 1957 because it's late period coltrane meets monk. there is 15min of an mp3 of unissued monk/coltrane on the official monk site. http://www.monkzone.com/monkzone.htm webcasts THELONIOUS PLAYING NUTTY AND RUBY, MY DEAR WITH JOHN COLTRANE this is probably five spot 57/58.

michael snow's 'New York Eye and Ear Control' does anyone have this film available for trade. thanks

charlie parker May 19, 1950 Renaissance Ballroom, New York Machito's Afro-Cuban band Reminiscing at Twilight 12" LP: Spotlite SPJ 138

and the 2nd session from October 23, 1950 Pershing Hotel Ballroom, Chicago with possibly von freeman ts. that's a nice show. http://www.plosin.com/milesAhead/BirdSessions.aspx?s=501023b

i always look forward to listening to this short item. i don't have that last tune though. http://www.plosin.com/milesAhead/BirdSessions.aspx?s=500519b May 19, 1950 (3 items; TT = 14:27) Renaissance Ballroom, New York NY Private recording (Tape) Machito's Afro-Cuban band Charlie Parker (as); Howard McGhee (tpt); Mario Bauza (tpt); Frank "Paquito" Davilla (tpt); Bob Woodlen (tpt); Gene Johnson (as); Fred Skerritt (as); Jose Madera (ts); Frank Socolow (ts); Leslie Johnakins (bs); Rene Hernandez (p); Roberto Rodriguez (b); Jose Mangual (bgo); Luis Miranda (cga); Umbaldo Nieto (timbales); Frank "Machito" Grillo (maracas) Mambo Fortunado (Unknown) [bird's Mambo] 5:04 Lament for the Congo (Unknown) [bongo Ballad] 5:44 Reminiscing at Twilight (F. Davilla) 3:39 No Parker solo.

from things that i've read, and heard, i don't think that monk liked to listen to anyone's music except his own.

There is a film of him with Coleman Hawkins in the Verve studios. >>>> this was released as an import 'norman granz presents 'improvization' (parker, l. young, ellington). might be domestic by now.

You do have that one track they recorded together in Europe, in 1956?

i think that i've read that charlie parker did the exact same thing that you're describing as far as covering for the rhythm section confusion on the second version of 'rocker' (or possibly on lester leaps in?) from September 26, 1952 Rockland Palace Ballroom, New York. i haven't spotted that passage, but the researchers seem to agree. but on the 1950 show, lester doesn't seem to do it to cover for the rhythm section.

'jazz immortal series volume two' cd (savoy) live 4.2.50 chicago track 4 'lester's blues #2' (neenah) 3:08 check it out.

actually, i meant - recommend a jazz book that gives examples that kofsky's ideology is wrong, or at least partially wrong. i've read notes and tones, and i believe that i read only the beginning of the hawes book (although i'm not positive about the hawes). are the musicians in notes and tones bragging about how well they were treated by the jazz business world? as for kofsky being extreme, we really don't know that he is. instead of your take on kofsky, i would prefer opinions from black jazz musicians from the 60's/70's who are still alive. let's email ornette. or there must be published interviews where musicians are asked about kofsky's books. btw, rahsaan roland kirk talked a lot during concerts, sometimes for 5-10min between tunes. his ideas about some of these subjects do not make kofsky seem like an extremist at all. and kirk's opinion is much more important to me than kofsky's. so, if you want to blame my taking 'inflammatory rhetoric at face value' on anyone, then i'd prefer the main source. "it's still plantation earth" RRK - circa 1974/75. see you in the politics forum. i'm there all the time.

i am not interested in kofsky's political stance. i like his writing/reporting because i rarely see those subjects discussed as openly, and with apparantly good research in other jazz books. and don't worry, my music collection is not based on kofsky's taste in music. it seems that you misunderstand, maybe because your life/work has a lot to do with politics - if your signature is correct. not everybody is interested in politics. and i don't see anything radical about treating the jazz musicians fairly. and you keep recommending books about blacks in prison, black power, marxism, etc. recommend a book about black jazz music.

maybe when you were 16 you weren't mature enough for kofsky's books. kofsky is respected by many people who are not 16. there are a lot of truths/information about the business side of jazz in those books. as for the books that you 'recommend', i googled them, and they have nothing to do with jazz. but thanks for your deep thoughts. >> FK's interview of Coltrane is worth listening to but it ought not be too hard to guess who comes off best there. >>> you mean that coltrane comes off better than kofsky? i don't understand your point.

i don't know if it helps, but here is an entry from an unpublished kirk discography. although, when i got the fairly recent cd version of 'oh yeah' with all the kirk tunes, it was not listed here. the entry may have been corrected since then. Charles Mingus Jazz Workshop 61 1106 November 6, 1961 Atlantic Recording Studios New York, NY Monday Charles Mingus p, voc; Jimmy Knepper tb; Roland Kirk ts, mz, st, fl, siren; Booker Ervin ts; Doug Watkins b; Dannie Richmond dr; band voc a. 5756 Devil Woman (CM voc) 9:38 Atlantic 1377 / SD1377 b. 5757 Ecclusiastics (CM voc) 6:55 -- c. 5758 “Old” Blues For Walt's Torin 7:59 Atlantic 1416 / SD1416 d. 5759 Peggy's Blue Skylight 9:42 -- e. 5760 Hog Callin' Blues 7:26 Atlantic 1377 / SD1377 f. 5761 Oh Lord, Don't Let Them Drop That Atomic Bomb On Me (CM voc) 5:38 -- g. 5762 Passions Of A Man (CM voc) 4:52 - h. 5763 Wham Bam Thank You Ma’am 4:41 i. 5764 Body And Soul unissued j. 5765 Invisible Lady 4:49 Atlantic 1416 / SD1416 k. 5766 Eat That Chicken (CM voc, band voc) 4:36 Atlantic 1377 / SD 1377 l. 5767 Nuts unissued m. 5768 Unidentified -- Notes: a. RK takes the first ts solo and Booker Ervin the second. b. c. e. f. j. k. All sax solos are by RK. c. Length of title incorrectly shown as 8:59 on issues. d. Booker Ervin is the ts soloist after the ensemble and before the piano solo. h. Booker Ervin is the ts soloist. i. l. m. It is believed that these 3 tracks were destroyed in the Atlantic vault fire in Long Branch, NJ 1976. (refer to: http://www.bluenote.com/bulletinboard/ubb-...4&t=000229&p=2) j. Only one ts is present, Booker Ervin, RK is out? Issues: a. b. e. f. g. h. k. Atlantic 1377 = Atlantic SD 1377 = Atlantic 1377 (rtr) = Atlantic 7 90667-1 = Atlantic 7 90667-2 (cd) = Atlantic 7 90667-4 (cs) = Atlantic/Rhino SD1377 = Atlantic/Rhino (D) 8122-75359-2 (cd) = Atlantic (D) 7 90667 1 = Atlantic (D) 7 90667 2 (cd) = Atlantic (F) 332051 = Atlantic (F) 40387 = London /Atlantic (GB) HA K 8007 = London/Atlantic (GB) SH K 8007 = Warner Pioneer/Atlantic (J) P-4544A = Atlantic (J) P 6016 = Atlantic (J) P 7557 A = Atlantic (J) AMCY 1038 = Silen (RU) SI-1603 (cd) Titled: CHARLES MINGUS OH YEAH c. d. j. Atlantic 1416 = Atlantic SD 1416 = Atlantic 1416 (rtr) = Atlantic/Rhino SD 1416 = LABEL M 495723 (cd) = Atlantic (D) SD 1416 = Atlantic (D) 7567-80793-2 (cd) = Atlantic (F) 412012 = Atlantic (GB) ATL 5019 = Atlantic (GB) SAL 5019 = Atlantic (J) CSJ 829 = Atlantic (J) AMCY-1206 (cd) = Silen (RU) SI-1603 (cd) Titled: CHARLES MINGUS TONIGHT AT NOON a. b. c. d. e. f. g. h. j. k. Also on Atlantic/Rhino R2 75589 (cd) = Atlantic/Rhino (J) AMCY-1249 (cd) Titled: CHARLES MINGUS OH YEAH a. Also on Atl Supraphon (CZH) 110212 1 Titled: CHARLES MINGUS PASIJE CLOVEKA a. b. c. d. e. f .g .h .j. k. Also on Atlatntic/Rhino R2-72871(cd) = Atlantic/Rhino (GB) K 8122 72871 2 (cd) Titled: CHARLES MINGUS PASSIONS OF A MAN THE COMPLETE ATLANTIC RECORDINGS 1956 - 1961 a. b. e. f. g. h. k. Also on WEA (D) WE 240717 (4 lp box set) Titled: CHARLES MINGUS CHARLES MINGUS a. b. e. f. g. h. k. Also on Lucky Navigator (RU) (cdrom) Titled: CHARLES MINGUS Note: This cdrom includes 10 Charles Mingus lps, including OH YEAH, from 1956 –1977. The picture displayed is Atlantic 7 90667-2 (cd). Refer to www.cdboom.com and eBay 337557782. a. g. h. Also on Atlantic SD3 600 = Atlantic CS3 600 (cs) = Atlantic (D) 60 143 = Atlantic (F) WE 313 Titled: CHARLES MINGUS PASSIONS OF A MAN AN ANTHOLOGY OF HIS ATLANTIC RECORDINGS b. e. g. h. k. Also on Atlantic SD 2 302 = Atlantic ATL TP-2-302 (8tk) = Atlantic (D) 60 039 = Atlantic (F) 60 039 = Atlantic (GB) K 50232 = Atlantic (J) P 4505/6A Titled: CHARLES MINGUS THE ART OF CHARLES MINGUS / THE ATLANTIC YEARS b. Also on Atlantic/Rhino R2 71402 (cd) Titled: CHARLIE MINGUS ANTHOLOGY: THIRTEEN PICTURES b. Also on Atlantic/Rhino R2-71554 (cd) = Atlantic/Rhino (D) 8122 71554 2 (cd) Titled: ATLANTIC JAZZ/BEST OF THE ‘60S VOL.1 (var.) b. g. h. Also on Atlantic/Rhino R2-79988 (cd) Titled: CHARLES MINGUS THE VERY BEST OF CHARLES MINGUS d. h. Also on Warner Jazz (D) 9548-35819-2 (cd) CHARLES MINGUS CHARLES MINGUS d. k. Also on Columbia/Legacy CK 61448 (cd) Titled: CHARLES MINGUS KEN BURNS JAZZ e. k. Also on Atlantic SD1555 = Atlantic M 51555 (cs) = Atlantic (F) 40392 Titled: CHARLES MINGUS THE BEST OF CHARLES MINGUS e. k. Also on Atlantic SD 2 506 Titled: ? f. Also on Atlantic (D) 20052 Titled: THE 25 ATLANTIC YEARS – BLUES 'N' JAZZ (var.) h. Also on Atlantic/Rhino R2 71406 (cd) = Atlantic/Rhino (D) 8122 71406 2 (cd) Titled: RAHSAAN ROLAND KIRK ANTHOLOGY DOES YOUR HOUSE HAVE LIONS h. Also on WEA BHM-01 (cd) Titled: THE RHTYHM OF HISTORY: CELEBRATING BLACK HISTORY MONTH 2001 (var.) h. Also on Time Life Music R612-05 314560538-2 / 72435-31636-2-4 (cd) Titled: CLASSICJAZZ THE SIXTIES (var.) h. Also on Flashback R2-79896 (cd) = Flashback R4-79896 (cs) Titled: HOT SAX, COOL JAZZ (var.) k. Also on Atlantic (D) 60095 Titled: BLUES JUBILEE (var.) k. Also on Atlantic/Rhino R2 71727 (cd) Titled: ATLANTIC JAZZ BEST OF THE ‘60S, VOLUME 2 (var.)

All these un-reliable sources.

if you mean determined by jimihendrix.com on the notes to the box set, their info is not always correct. and then what about the 20min 'fuzzy guitar jam' (not the 15min Duane Hitchings jam) is that with young?

if you mean determined by jimihendrix.com on the notes to the box set, their info is not always correct.

santana is a guy who's been trying to break into jazz since like 1970. but no one's taking him seriously in that area of music (and rightfully so). the lotus tour had leon thomas on vocals, but his participation is not documented on the lotus lp/cd. evidently he sang pharoah's creator/plan on the tour. all that said, lotus is a great santana cd, if you're into that kind of music.

bach. but you may want to check out his viola, and oboe sonatas, some of which he arranged from his flute sonatas, and vise versa.

i think it's in that book that thiele states that the tunes for coltrane's 'ballads' album were all done in one take. why would he blatantly lie to us like that. and as kofsky points out, why is he putting himself on the photos of the albums. him and coltrane, deep in thought about what to write next...