EKE BBB

Chuck: Are you sure Disconforme (Jazz Factory & Definitive Records) is the same thing that Fresh Sound? And Ocium? I know this was discussed in another thread, but I can´t find it! (and I don´t know if we all reached an agreement)

For a bit more cash, you can pick the two box-sets "The complete LY small group recordings 1936-1951" (Blue Moon), 4 cd and about 25€ each. They include all the small group studio recordings (with alternates) except those with Billie Holiday. It´s cheap, the booklet is slender but useful and the sound is passable. With volume 1 you get all the master takes from 1936 to 1949.

He´s in my top 20. I like some of his recordings ("Point of departure" is in my top 20 "post-bop recordings") but -like soul stream- don´t understand all his music and his harmonic developments.

I think it was Joachim Berendt in his "The book of jazz: From New Orleans to Jazz Rock and beyond" who mentions Twardzik was very influenced by Lennie Tristano, though Dick was a bop-based pianist.

Here´s an interesting piece of information: Lady with a Horn The Osgood File (CBS Radio Network): 11/29/02 75-year old jazz pioneer Clora Bryant still forges the path for women jazz players. One of the last living musicians of the Be-Bop jazz era is a 75-year old woman who mentors the next generation of jazz players. Clora Bryant toured with Billie Holiday, and she is the only woman trumpet player who ever recorded with Dizzy Gillespie and played with Charlie Parker. Though she was honored last May at the Kennedy Center in Washington, D.C., Bryant has never become well known to the general public. Despite a heart attack and quadruple bypass surgery in 1996 that left her unable to play her trumpet, Bryant continues to exert her influence on the world of jazz. She still sings and lectures on jazz history at several Los Angeles-area colleges. She also mentors several young female jazz musicians, encouraging, inspiring and teaching them. Bryant says the younger generation needs to learn from older players, as she did from greats like Duke Ellington, Count Basie, and Louis Armstrong. "When I grew up there were legends everywhere, and now the legends don't make themselves available to young people anymore…these days people just get in their limos and away they go, and it hurts my heart." Bryant's love affair with the trumpet started when she was a high school junior in 1941 in Denison, Texas. After her brother was drafted into the army, Clora Bryant picked up the trumpet he left behind and started playing day and night. Since then, her 59-year career has been full of firsts. In the 1940s, most women in jazz either sang or played piano and avoided the male-dominated horn section. Bryant was the first woman to play with Charlie Parker. She recorded with Dizzy Gillespie and played with other greats like Louis Armstrong, Carl Perkins, Dexter Gordon and others. Later, in 1989, Bryant was the first woman to travel to the Soviet Union to perform jazz, on the invitation of Mikhail Gorbachev. Part of Bryant's ability to break through gender barriers came from the strength she got from her father, whom she calls her "knight in shining armor." She clearly remembers, as a little girl, her father telling her that she could do anything she set her mind to, and that he was behind her all the way. Bryant does the same for other young ladies searching for their own place in the mostly male world of jazz. Bryant says it's essential for experienced musicians to foster the creative growth of young artists, technique and history and offering encouragement. She says she feels sorry for young musicians these days, because they don't have the access to jazz legends like she once had with her mentor Dizzy Gillespie, or the one-on-one friendship she had with Duke Ellington, Count Basie and Louis Armstrong. She says its still especially important to mentor women players, teaching them not just technical skills but also how to survive as a woman in a field that has vastly improved since she started out but is still dominated by men. She says women jazz players need to excel technically and musically in order to be taken as seriously as their male counterparts. And as her father used to tell her, Bryant still teaches her female protégées, "If you want to be respected, you have to act like a lady. And to me that is what it's all about, being a lady." CONTACTS Clora Bryant C/O The Durfee Foundation 1453 Third Street, Suite 312 Santa Monica, CA 90401 Phone: (310) 899-5120 Fax: (310) 899-5121

The four singing Smith Clara Smith Mamie Smith Trixie Smith Bessie Smith

Bertha "Chippie" Hill Alberta Hunter Virginia Liston

I don´t know if they´re obscure enough but I like them: -Gil Evans: The individualism of Gil Evans (Verve 63-64) -John Lewis: The wonderful world of jazz (Atlantic, 1960) -The blues and the abstract truth (Impulse, 1961)

Maybe some day I will buy.....I´m not among NJ bashers!

A few gems (IMO) featuring Fuller: Blue train Coltrane, John Blue note 1957 Sonny´s crib Clark, Sonny Blue note 1957 The amazing Bud Powell Vol.3 Bud! Powell, Bud Blue Note 1957 Strike up the band Jones, Quincy Verve 1961 (61-64) The best of the Blue Note years Henderson, Joe Blue note 1963 (63-85) Tom Cat Morgan, Lee Blue Note 1964

Hey, DEEP´s back at organissimo!!! Fun&fire guaranteed DUH! God Bless Jane IRA Bloom and IRAkere too!!!

Before 1950: On tenor, Hawk or Prez (can´t choose only one, and Ben Webster is near). If you change tenor for alto, Bird (Johnny Hodges is near too) On trumpet, Armstrong On piano, Tatum On drums, Sonny Greer On bass, Jimmie Blanton After 1950: On tenor, Coltrane (Rollins is my second option) On trumpet, Miles On piano, Monk or Evans On drums, Elvin Jones On bass, Mingus

Great Sonny! I like his sharp or even harsh tone, and his melodic capacity! My first choices would be: -Tenor madness / Saxophone Colossus (Prestige) -The Freelance years box-set (Riverside and Contemporary) -A night at the Village Vanguard / Newk´s time (Blue note) -SR meets Hawk! / The bridge (RCA) -Alfie (Impulse) and his work with Monk and Clifford Brown, too...

On the other hand....let´s talk about Charlie Parker Bird conceived every solo as a narrative thing, as he said: "Ever since I´ve heard music, I´ve always thought it should be very clean, very precise...as clean as possible, anyway...and more or less to the people, something they could understand, something that was beautiful....there´s definitely stories and stories and stories that can be told in the musical idiom...It can be very descriptive in all kinds of ways, you know, all walks of life" I´ve always been impressed by his technique and his speed and his creativeness in every solo he played! I´ve read his technique has the technical name of "cento" in musicology. Thomas Owens has identified over 100 of the different motifs that Bird most commonly used in creating his solos, and he put them together in a new and completely different way for every performance Some may say Bird was kind of mystified: his early death, his drug abuse, his chaotic character... But I think he was one of the greatest genius of 20th century music. Phil Woods said Bird "was the Beethoven of our time". I don´t know, Duke and Satchmo were there too!

...and talking about tenor boppers, Wardell Gray must be included here IMHO! He was very influenced by Bird (and by Prez), but he got his own phrasing and was one of greatest bebop innovators on tenor till his death in 1955

I would emphasize Coleman Hawkins as an influential musician. Do you remember the session with "Disorder at the border"?. Alyn Shipton adduces that though it was a recording released as Coleman Hawkins´, the real leader (and arranger) of the session was Dizzy. But Hawk was always there, with the young lions, and his advanced harmonic concepts DID FIT well with the new music!

Some may say they don´t like LaFaro because he played "too many notes". Actually, when Chuck Israels came into the trio, Bill Evans had more room to play, specially in ballads, as we all can hear in "Moonbeams" (Riverside, 1962) , the first trio recording with Israels. Notwithstanding, IMO LaFaro was a marvellous player who, in his short career, got a great development in the melodic possibilities of bass (as Jimmie Blanton did first)

Wonderful big band music. Herman may have had better (or more famous) musicians before (First and Second Herd) but this recording is REALLY OUTSTANDING, IMO! And very, very good sound!

Chuck Israels (1962-1965) Gary Peacock (1963) Teddy Kotick (1966) Eddie Gomez (1966-1977) Marc Johnson (1978-1980) ????

Thanks for the info, Claude

I also voted for the most obvious choice, Dizzy. In second place I´d take Fats Navarro or Miles.

I´m one of those who got burnt by Planetmusic breakdown. Anybody have jazzmesengers´ e-mail or URL???? Thanks in advance! BTW, I´m not sure, but I think Fresh Sound/Blue Moon is a different thing from Disconforme (Jazz Factory/Definitive Records). I don´t know where Planet Music/Jazzmessengers (damn it) comes in!

If I´m allowed to, I nominate Mnytime´s new avatar. Salvador Dalí has always been one of my favourite painters!

Yes. No problem hitting the "Forums", hitting specific threads or adding a reply.

No problem for me today, Brownie.