EKE BBB

Up for some autumn air! Any help keeps being much appreciated.

Back to RiR, and as a mere statistical curiosity, the New DESOR lists about 330 recorded performances by Duke Ellington (with or without the orchestra), including unissued performances, alternative takes... about 80% from the 60s and beyond.

Wow! Pettiford, of course. Corrected on original post!

[quote name='jeffcrom' date='07 October 2010 - 03:05 AM' timestamp='1286413521' post='1057036'] From what I can tell, Ellington only recorded "I've Got the World on a String" once, for British Columbia (the label, not the province) in 1933.

"Flippant Furry" is a quite unemotional mini-concerto composed by Billy Strayhorn as a vehicle for the most academic side of Jimmy Hamilton's clarinet. It was premiered in the 23nov46 Carnegie Hall concert and then abbreviated for the 5dec46 Musicraft recording, which has a completely different intro: while the Carnegie Hall version has 20 bars by Hamilton, followed by passages of 4 & 2 bars by the full orchestra alternating with 2-bar breaks by Oscar Pettiford, the Musicraft version opens with 4 bars by Ellington's piano, 3 by Russell Procope and 1 by the full orchestra. Both versions have three choruses of different length, but the 32-bars coda is structurally identical on both. (label scan is courtesy of David Palmquist's wonderful website, "The Dooji Collection" - see http://ellingtonweb.ca/Hostedpages/DoojiCollection/DoojiCollection.htm) The version recorded in the 7jan47 Capitol radio transcription session at the Pathé studios is very similar to the Musicraft but for the intro, which in this case is 26-bars long (20 clarinet, 4 orchestra, 2 bass). It was recorded just twice more: in the 19apr47 Cornell University concert and in a 1jul47 CBS broadcast from El Patio Ballroom in Lakeside Park (Denver).

Calling all wifes: Christmas present, Christmas present, Christmas present....

BBC Radio 3's excellent Jazz Library at 4p.m.GMT on Saturday is on Martial Solal Thanks for the hint, Bill!

Filling some gaps in my collection of discs by this wonderful French pianist (60+ at the time): Martial Solal Newdecaband - Exposition san tableau (Nocturne) Martial Solal & Lee Konitz - European episode (Campi/Cam Jazz) Martial Solal - Bluesine (Soul Note) Martial Solal - Balade du 10 Mars (Soul Note) Martial Solal - Live at the Village Vanguard. I can't give you anything but love (Cam Jazz) Martial Solal Dodecaband - Plays Ellington (Dreyfus)

Ben Ratliff Ben Webster Paul Webster

He was taller than I am... not that this is strange...

I think I'll pass, unless I see I can fill in a few gaps in my ornithological collection.

Vic Juris Vic Dickenson Charles Dickens

Little Milton Little Richard Little by Little

Congratulations! (late, as always) Should we start the "We're approaching two million posts" now?

[quote name='Dan Gould' date='07 June 2010 - 03:04 AM' timestamp='1275872665' post='1029959'] Yeah, since I wrote that, he's won a Slam or two on something other than dirt. But why have you bolded so many non-Slam tournaments? :rolleyes: :rolleyes:

1938 Cotton Club programs on ebay

Thanks!!!!

Intégrale Louis Armstrong, vol. 7 & 8 Tryin' to keep this collection up to date!

Dan I know you knew I'd be here...

This was published in 2009, but haven't found any comment on it: http://www.amazon.com/exec/obidos/ASIN/0307266095/jerryjazzmusicia#noop Interview with author David Robertson in Jerry Jazz Musician: http://www.jerryjazzmusician.com/linernotes/w.c._handy.html

<<<WOMEN SONG WRITERS Chicago Tribune, November 17, 1907 Woman has invaded another field in which man thought he was supreme. She has become a writer of popular songs and instrumental numbers, and many of the most tuneful and affecting ditties of the day are written by women... [details on some composers] Although the women may have just as much talent as the men, it is not to be expected that their songs and music numbers ever will become as genuinely popular as are those of the men. The men have this advantage: For the purpose of "plugging" (a term used by the profession for popularizing) their new creations, they can go where they please, when they please, and stay out as late as they please without shattering any of the traditions of propriety. The women, however, cannot do this. Imagine a woman song writer standing at a stage door until she can converse with some masculine performer and impress upon him that she has the one song that will "make his act." Imagine her running around until 1 o'clock or later in the morning leaving orchestrations of her latest with the orchestra and piano players of the good, bad, and indifferent cafés. She can't do it, and it isn't expected of her. These are but two of the many things she can't do to "push" her song. Of course her work is placed ultimately where it will do the most good, but it isn't given the close attention the men can pay to their own screeds. Despite these handicaps, however, the writings of women song makers are growing more popular with each succeeding year, and it is only a question of a little while when their work will stand on an equally sound footing with the ditties of the men.>>>> Love to dig into those old newspapers. Plenty of interesting points of view... ;-D

This was a complete disaster. It smells again like all great championships except last Eurocup: failure, fiasco, bust, flop... Absolutely disappointed.

2010 JJA Jazz Awards Winners (...) 35. Best Book about Jazz: Thelonious Monk: The Life and Times of an American Original, Robin D.G. Kelley, Free Press

Spanish saxophonist Vlady Bas and his daughter, vocalist Paula Bas

Jordi & Mario Rossy.