Chas

I don't know about this Tom . I initially thought about setting the 'minimum number of dates' criterion at three , but even set at two , the list so far hardly numbers in the hundreds , which I think speaks to the correctness of my original decision . I'm flexible though ; if the list begins to get out of hand , then the criterion can be changed to a three date minimum . For now though , I'd like to add these names ( all of which would be excluded under a three date minimum ) : - Gus Mancuso - Leonard Gaskin - Rudolph Johnson - The Awakening

Quite the visual contrast between the dancing , ebullient Taylor and the impassive , cerebral Evans . Fine solos all around as you would expect from that talent at that time . Severinson is in some fast company here - just his luck that Scott rips off a hot solo right before his ! A pity that McKusick wasn't available for the show , for he , Galbraith and Farmer were so beautifully complementary . Would that there were some way to personally thank those who thoughtfully preserved , for the enjoyment of future jazz lovers , artifacts like this .

Billy Wallace got the opportunity to lead a second date in 1979 when he was back in his hometown of Milwaukee . This record , on the MDM label , was recorded at the Milwaukee Jazz Gallery with local rhythm support : His third date as a leader was done in 1994 in Seattle and released on Interplay/Norma (Japan) . It's a trio session with Phil Sparks and Clarence Acox : Has anybody had more luck tracking down these records than I have ? Re: Chris Anderson .... I have the Jazzland side , Inverted Image , but haven't been able to find the Veejay ( My Romance ) which came out in Japan only . Larry , your impression that Anderson was better than what's heard on the Jazzland is borne out by the liner notes to the album . In them we learn that Anderson was so dissatisfied with his own playing that a second session was done with Walter Perkins instead of Philly Joe , with the resulting album being a composite of the two sessions .

Billy Wallace has actually led three recording dates . The first one was done in Chicago in the late Fifties for Gig records . Accompanying Billy on the record were Bill Lee on bass , and Bill Hobbs on drums . Billy's trio had a long residence at a joint called Easy Street , before disbanding when Billy got the call from Max Roach to join his group . I've wanted to hear this record for a long time ; if anyone has it , please get in touch . Here's the cover : And here's the cover of the Japanese CD reissue :

I'm upping this old , aborted Billy Wallace thread , because I think the Billy Wallace discussion going on in another thread belongs in it . Here's that discussion : Do you know if this is the same Billy Wallace who now lives in Seattle? I heard him play with Von Freeman a couple of years back at Tula's and it was a great evening of music. I recently spoke with John Bishop, and this is definitely the same Billy Wallace. He moved to Las Vegas a couple of years ago so no longer is on the Seattle scene. Drat! I would have loved to hear him in performance again. Thanks, Bill. In case you missed it, I just ran across another recording on which Wallace appears, singer Johnny Janis' "The Start of Something New" (Columbia, c. 1959-60). It's mentioned in this recent thread about Janis, which I launched: http://www.organissimo.org/forum/index.php...84&hl=janis The album is notable for Janis' work but doesn't tell us much about Wallace that we don't already know -- his trio plays a mostly subsidiary, neo-Red Garland role, though tastily so. I spoke to Janis and he doesn't recall who the bassist and drummer were, though he said that this was Wallace's regular working group, and that they were the house trio at a particular Chicago club (probably on or near Rush St.) for some time, maybe a year or more. The link in the first post to the feature article on Wallace is dead , so here is that article : Earshot Jazz • February 2002 • pages 4 & 5 BY MEGAN AEMMER Billy Wallace Hits High Gear - A Decade on the Seattle Music Scene Has Pianist Firmly Established Some describe pianist Billy Wallace as a quiet man. But his seemingly introverted demeanor belies a rich cache of stories, a memory that’s sharp as a tack, a crooner’s clear, mellow tenor voice and piano playing that bubbles and flows like a hidden crystal spring. Although he’s a relatively recent transplant, (he moved to Seattle in 1991), Wallace has put down strong roots as one of the cities most impressive local musicians. His playing has been described in the Seattle Times as “like a cascade of water,” a sound that refreshes audience members seven nights a week. Floyd Standifer, a local legend himself, who plays with Wallace at the New Orleans Restaurant and the Pampas Room, calls him a marvelous, extraordinary player. “Oh, there are nights when he does some things that make you wonder, ‘Where did he get that from,’ you know… there are some nights when you go, ‘Wow, boy that’s as good as it’s ever gonna get,’” Standifer beamed. Wallace relocated to Seattle after living in Denver for 20 years. He had lived a wandering life, living in Minneapolis/St. Paul and in Chicago as well as traveling to Germany, Japan, Finland and Norway. Born in Milwaukee, the wiry Wallace is largely self-taught. After cutting his teeth on boogie-woogie while in high school, he began playing professionally in 1946 at the age of 17. Instead of staying home and practicing, he spent the following decade of his life performing and traveling, gaining experience that proved more useful than private lessons and practicing with a metronome. Wallace recalled one story from his early days of roving with a twinkle in his eye as he reminisced about small-town America during the late 1940s. “This particular band — we went from Milwaukee, Wisconsin to North Platte, Nebraska to audition. Eight hundred miles to audition! And then when we got there, the saxophone player had left his horn in Rockford. The tavern — it was really a road-house called Joe’s Dine & Dance — the owner called up the person he knew that had the music store and he said ‘I need a saxophone.’ And in 15 minutes, I mean, the store had been closed already, but the owner went in, opened the store, and brought a saxophone over,” he recalled. As for bright lights and big cities, he’s seen his share of them as well. During 14 years spent living and playing in Chicago, he met and played with some of the brightest luminaries in jazz, who also became his biggest influences. “I met a lot of people (at after-hours clubs). I met Art Tatum, Sarah Vaughn and other celebrities,” recalled the self-described night owl. (To this day, staying up until four a.m. isn’t unusual for the energetic grandfather). According to Wallace, Sunday night was the big night to go out for the hardy revelers in bebop’s heyday. If you went out on the weekend, you were square. After-hours clubs were open till the wee hours. Breakfast shows started at four a.m., the last show at seven a.m. For musicians and listeners who wanted more, jam sessions were often held from seven in the morning until after noon. “Sunday and Monday were big days in the entertainment field,” he noted. The hearty after-hours scene also provided Wallace with ample opportunities to jam with the likes of Charlie Parker and work with Sonny Stitt, Frank Foster, Illinois Jaquet and Von Freeman. During his career, he has recorded with Billy Mitchell, Bunky Green, B.B. King, Frank Strozier, and the Impressions. He also accompanied Lou Rawls, Johnny Hartman, and Anita O’Day. Drummer Max Roach was a frequent collaborator as was trumpeter Clifford Brown, with whom he released the album Raw Genius. “The list (of people I’ve worked with) would be so long,” he chuckled. Although he played with such bright stars, he claims butterflies in his stomach were never a problem. He denies chasing the spotlight, but freely admits that he’s never had a problem with being the center of attention. “I never had stage fright. You know, I played with Max Roach at Town Hall in New York, and the only thing I could think of was ‘Wait til they hear me,’” he laughed. Those who hear him will hear some of Bud Powell, Ahmad Jamal and Errol Garner, who are among his major influences on piano, while Frank Sinatra, Joe Williams, Carmen McRae and Nat Cole are some favorite singers. A dash of Johnny Hartman (with whom he played) and perhaps a pinch of Sinatra are also evident in his singing. Harmonically, Wallace was greatly influenced by pianist Chris Anderson, whom he spent great amounts of time with in 1950s Chicago. Anderson, bassist Bill Lee and Wallace were seemingly inseparable, as he fondly recalled. “We were always at one of the three’s house… rehearsing, playing. We had different people over; people like Clifford Brown, (and) Frank Foster have been to my house. A lot of these people came. In fact, Ahmad Jamal once called Bill Lee, Chris and me the Holy Trinity because we were together so much.” After Chicago, Wallace was in Minneapolis. He spent six years there before he continued on to Denver. It was in Denver that he met bassist Phil Sparks, who he currently plays with as part of the Floyd Standifer Quartet. Sparks, who moved to Seattle in 1983, introduced Wallace to Standifer in the early ’90s, which helped him land his current gig at the New Orleans. These days, Wallace can be found playing at various local restaurants and clubs every night of the week. Although he plays every night, each of his jobs has a different flavor and feel. Playing at the Waterfront is about atmosphere and ambience; sitting alone at the piano, just inside the door of the ornate restaurant and to the left of a bar with a sumptuous view of Elliot Bay. Diners don’t necessarily applaud or listen. But those who do will hear everything from “Ain’t Misbehavin’ ” to “The Girl From Ipanema” and about anything else. Drummer Clarence Acox once said of Wallace, “He knows 2000 tunes—in every key!” Where Waterfront is a more sophisticated, dressed-up affair —the drink menu sports $200 shots of aged rum—the New Orleans Restaurant, in Pioneer Square, has a down-home atmosphere (accented by brick walls and a green ceiling) and the regulars come as much for the jazz as the jambalaya. On Wednesday nights, the New Orleans hosts the Floyd Standifer Quartet, with Wallace lending his piano and vocal styles to a Cajun stew of classic swing, bebop and whatever else comes along. Wallace considers the New Orleans to be one of the bes venues in the world that he’s seen for a local musician. “People come and listen, you know… they patronize it regularly. We have a lot of people here who come here every week!” Other musicians also stop by to listen, including vocalist Edmonia Jarrett, who was in the house one Wednesday night in January. “You got the places like Jazz Alley, Basin Street, and those different places—well known clubs. But they hire only people with big names. For local people, this club (the New Orleans) is one of the best clubs.” Wallace also noted Tula’s as a good venue for locally grown jazz. The Pampas Room at El Gaucho is another scene that’s keeping jazz alive as dance music when the Billy Wallace Quartet takes to the stage with singer BB White on Friday and Saturday nights. Weekends also provide another opportunity for Wallace and Standifer to get together for a couple more nights each week. “He’s my piano player here at the New Orleans, and I’m his horn player at the Pampas,” Standifer remarked, adding, “it works out beautifully. It’s a chance to play three nights a week with an artist whose musical interests are pretty much the same as mine: harmonically, rhythmically… we come from the same generation, which means we have a shared experience.” An experience that Wallace and his peers are eager to share with Seattle, seven nights a week. Billy Wallace : Photo by Daniel Sheehan

Tony , here is the list . They were to be mini-LP sleeve CDs with a list price of 2310 Yen : WPCR 25076 Patty McGovern Wednesday's Child WPCR 25077 Lars Gullin Baritone Sax WPCR 25078 Helen Merrill American Country Songs WPCR 25079 Mary Lou Williams & Barbara Carroll Ladies of Jazz WPCR 25080 Bob Brookmeyer Portrait of the Artist WPCR 25081 Slide Hampton Something Sanctified WPCR 25082 Vi Redd Lady Soul WPCR 25083 Philly Joe Jones Philly Joe's Beat WPCR 25084 Various Artists Jazz Piano International WPCR 25085 Jimmy Giuffre Travelin' Light WPCR 25086 Dave Pike Jazz for the Jet Set WPCR 25087 Diahann Carroll Fun Life WPCR 25088 Junior Mance Harlem Lullaby WPCR 25089 Bobby Darin That's All WPCR 25090 Bill Russo World of Alcina WPCR 25091 Harry Lookofsky Stringsville WPCR 25092 Hank Crawford More Soul WPCR 25093 Ronnie Ross & Allan Ganley Jazz Makers WPCR 25094 Joe Castro Groove Funk Soul WPCR 25095 Jazz Modes Most Happy Fella

Not the same . The only part of that Wardell twofer that has Frank Morgan is the sextet stuff with Teddy Charles , and that's from '53 .

The sound quality is so-so .. better than my scratchy original vinyl, but I have a feeling that this reissue was made from a vinyl copy ... this important album obviously needs a remastered reissue ... will Columbia ever do it? Probably not in my lifetime... I'm afraid I agree with you Garth ; If Sony/Columbia can't even see their way to giving us a proper CD reissue of Mingus' Let My Children Hear Music , then there can't be much hope of their reissuing the Russo , let alone something like the Bob Prince .

Then seems to me you'd be better off speaking instead of singing.... For inter-gender communication , being in the same room helps . If not , then it's time to break out the flashcards with the smilies on them .

When I tried this at the local bank they seemed to have a 'problem' with it

I've said it here before , but I wish Mosaic would see fit to present some of Russo's non-Kenton work such as this Atlantic , the two Roulette sides , and the London session that was on Fred Miles' FM label . World of Alcina has three unissued numbers ; would be a nice surprise if they had somehow survived Atlantic's vault fire . While we're on the subject of Bill Russo , has anyone here picked up the Fresh Sound CD of Something New , Something Blue ? I'm curious about the sound quality .

I thought of these too , but a check of the discographies disqualifies all three of these . Really? Come on then Chas, cough. I really want more of all of them. Well , Billie Poole apparently recorded a single for an L.A. label called Merrie circa 1957 . Joe Castro recorded a big band w/strings album called Lush Life in the 60's for Clover Records : John Wright recorded in 1994 for Interplay - available on this Norma(Japan) CD :

Here you go Tom :

Boy do you have a lot to learn about art and artists. It is entirely possible some/much of what you love is the result of addiction. That might make you an enabler. Wouldn't it make more sense to say that some of the artistry is a function of the same thing that results in drug addiction rather than being a function of the addiction itself ? The sorrows of life are the joys of art....

Judging by your choice of Eddie Harris and Paul Desmond tracks you're o.k. with a smoother , more commercial sound , and so I think you'll really enjoy Montara . It has similarly 'slick' production values , but plenty of atmospheric , hypnotic , low-key grooves . Back to the BFT... Track 15 intrigued me enough that I listened closely a few more times , and I've decided that this is Vince Guaraldi doing something based on Debussy's Clair De Lune . I know it's not from his Christmas album ( would have fit perfectly though ) ; perhaps another of his Peanuts records ? In any case , very lovely indeed .

I thought of these too , but a check of the discographies disqualifies all three of these .

+ one for ESP. Good catch on the Montego Joe - I didn't know about that one . Unlike the Montego Joe ESP , Blackburn's name isn't separated from that of his group so.......Blackburn stays on the list . May as well add a few more while I'm here : - Jimmy Woods - Bill Marx - Reggie Moore

Since it hasn't been ID'ed yet , thought I'd pop in to say that track 14 is from Kenny Barron's first date as a leader done for Muse . Can't recall offhand the name of the tune or the vibes player . The album itself is quite varied , with sensitive acoustic tracks rubbing up against more funky , spacey , electric tracks . I think anyone digging the latin percussion-vibes-electric piano sound of this track will want to check out Bobby Hutcherson's Montara if they haven't already done so .

I'll need to go through this list carefully , but off the top I can tell you that Kenny Cox should not be on it , since he and his Contemporary Jazz Quintet led a third album for Strata ( N.B. not Strata-East ) called Location which I have been trying to find for years . EDIT : Need to scratch Freddie McCoy and Azar Lawrence off the list as well since they recorded for other labels .

Bassoon can be heard on Chick Corea's Trio For Flute, Bassoon, And Piano that appears on Hubert Laws Laws' Cause and also on Corea's Innerspace .

Yeah, I hate coughing up the money every year, but (at least in the USA) there's no other reasonable way to get coverage of international affairs. I justify it by reminding myself that I no longer purchase newspapers (once, pre-Economist, I subscribed to the New York Times; I don't miss The Gray Lady one iota, btw...). I was a regular Economist reader up until 2001 when they redesigned the magazine in an attempt to capture middle-brow Time and Newsweek readers with more graphics , more color and a lower word count . Now as an occasional reader I still enjoy their puckish humor even if it's a little smug at times , and even if it serves to make their market fundamentalism more disarming than would otherwise be the case .

Let's put together a list of jazz artists or groups whose leader dates were recorded for one label only . The ground rules : 1) The artist or group must have recorded at least twice as a leader or co-leader 2) Recordings include those issued on 7" , 10" and 12" (78s and LPs) and CDs 3) Unissued recordings are treated the same as issued recordings 4) 'One Label' means a label and all its subsidiaries 5) A label which changed names is considered one label 6) Reissues count neither for nor against inclusion in the list To get things started : - Gene Shaw - Wilbur Harden - Lou Blackburn - Dom Frontiere - The Poll Winners

Never even heard of that one. I'm interested. That one's noteworthy both for its rarity ( I only have a cassette copy ) and for the opportunity it affords to hear Gryce on clarinet , tenor and baritone . While I enjoy the playing on the Metrojazz and the Mercury mentioned above , I get more enjoyment out of some of Gryce's earlier recordings , most especially those done with Art Farmer . Don't know whether that's a function of having been exposed to those first , but that's always a possibility isn't it ? Here's the cover of the Metrojazz : And as long as we're talking rare Gryce , did someone from this community take possession of those rare Gryce acetates discussed here ?

Homocides ? The footwear is undeniably a little kitschy or campy , but from the sounds of it , this was more likely a double homeycide .