Chas

The Pacific Jazz Piano Trios Mosaic Select includes Rowles' Liberty side which was material Rowles recorded for Nocturne in 1954 . Rowles did 10 tracks for Nocturne , all of which were issued on Fresh Sound's 3-Volume Complete Nocturne Recordings box . The Mosaic Select only has the 9 Nocturne tracks that actually came out on Liberty and offers no explanation as to why they chose to add 2 Rowles trio tracks from 1956 instead of the tenth Nocturne trio track ( done at the same session ? ) which is a version of All The Things You Are . Presumably this is because Capitol/EMI don't own the rights to Nocturne recordings that were not issued by Liberty , but I would have expected Mosaic to give us better discographical detail . In that connection , what about this trio date done for Vantage ? : If I'm not mistaken , Vantage was Bob Andrews' L.A. label that issued his amateur recordings that were done live locally . Three 10-inchers , one each by , Hampton Hawes , Anthony Ortega and Pinky Winters were issued in the mid-Fifties . Some of Andrews' other recordings came out on Xanadu in the Seventies . On the 9 Vantage Rowles trio tracks ( presumably recorded live circa 1953-54 ) rhythm support is provided by John Simmons and Frankie Capp . Also , I assume this Japanese Norma issue is this music's first and only issue . Can someone here provide the discographical details that Mosaic should have ?

Came across this eclectic ( read: arbitrary ) collection of archived audio streams of complete jazz albums . With no syndication feed and thus no easy way to save them , these are not strictly speaking podcasts , but rather , on-demand webcasts I suppose . http://www.engine-studios.com/engine/VPP.html

Roulette had a whole series of 'at the Roundtable' recordings , including Jack Teagarden , Tyree Glenn and Turk Murphy . Not surprising , since the legendarily louche owner of Roulette , Morris Levy , was the proprietor of that restaurant/nightclub . The Teagarden cover , like the Herman , featured an Arthurian suit of armor familiar to habitués of the Roundtable .

I've seen red, blue, and green LPs, but never yellow or purple. Oh, the colorful fantasy (!) of journalists .... Actually , some of Fantasy's 10-inch LPs were pressed on purple vinyl : Yellow vinyl pressings wouldn't surprise me , since I believe that even vinyl with multi-color marbling was issued . In addition , some of Fantasy's disco 12" singles in the late 70's may have used exotically colored vinyl as well .

I'm not crazy about this Select , but the two Anderza sextet tracks are worthwhile . Hadley Caliman fills out the front line but does not solo . We do get a couple of Roosevelt Wardell solos and a Clarence Jones spot as well . Bolton is as clarion and commanding as ever . The aptly titled 'Midnite Lament' is a slow , moody affair showcasing Bolton's pure , virile tone . Anderza projects a Jackie McLean-like intensity and moves into his tonal territory at times as well . The uptempo 'Joe and I' ( which shares some changes with Airegin ) brings out a more individual , if no less passionate , side of Anderza . Good stuff , that would've fit better as bonus tracks on Anderza's Outa Sight CD . The other four tracks with Bolton feature him with a large band , and since they were done for Capitol and it was 1963 , we get slight , undistinguished bossa/samba frameworks which do not show Bolton to best advantage . I was reminded of those contemporaneous Lou Blackburn Imperial sides which I don't dislike so much as not love .

Seriously , I'm starting to think that Tom will vouchsafe the answers to Blindfold Test # 25 - Disc 2 before we see this book on the shelves

To dismiss Hank Jones as a conservative or to damn him for never offering a note to offend seems incredibly misguided to me... ....Never offered a note to offend? What, exactly, is that supposed to mean and how is it relevant to his art? Yes, Hank’s music is defined by its suppleness and grace, and if those are values you don’t respond to, well, ok. Tomato, tomahto and all that. But I wonder about this line of reasoning. Who deliberately offered notes to offend. Tatum didn’t. Ellington didn’t. Bird didn’t. Mingus didn’t. Monk didn’t. Trane didn’t. Ornette didn’t. Of course, many people were offended by their playing because it was new, unusual and represented a challenge to the status quo, and they stuck to their guns in the face of enormous criticism. I can certainly accept that many innovators are driven by the need or desire to challenge the conventions of their time, but at least as important, perhaps the fundamental force, is their search for their own personal language of expression, a desire to play what to their own ears is beautiful or, if you prefer, expressive. Out of this comes a willingness to offend, but it’s a byproduct. On the face of it , Chuck's and Clem's comments do seem misguided as you say Mark , though atavistic might be a more apt description since they seem the product of a romantic , utopian aestheticism that exalts often self-consciously 'transgressive' artists and their 'transformative' art . Then again , perhaps their comments are just their way of expressing a Dionysian dissatisfaction with the affective character or lack thereof , of these musicians' playing . Alternatively , perhaps C & C are just stirring the pot as is their wont . I do wonder though how a Jamal fancier like Clem can find Jones and Flanagan too polite or mannered .

In honor of his 81st birthday today I thought I would publicly lament that Jack has not posted here in nearly three years ; we are poorer for it .

Gee what a missed opportunity for FUN ! and profit . Not to mention the fact that no future squirrel would dare bother a man whose squirrel lamp was in plain view . Truly a more enlightened approach .

What , you can't thermoregulate through biofeedback ? Well then , as per your request for cool tunes : Oh , and in your hyperthermic condition it might be best if you stayed out of the Sexiest Album Covers thread for awhile

While it is no doubt true that China produces many substandard , unsafe products , the sudden U.S. media attention serves other interests besides the humanitarian . The U.S. runs a trade deficit of a QUARTER TRILLION dollars annually with China . When accusations of unfair trading practices fail politically to result in tariffs and duties , 'product safety concerns' become a more saleable , alternative means to the same protectionist end , viz. the restriction of imports .

The meeting of Ayler and the spoken-word occurred forty years ago during that melding of politics , poetry and avant-garde jazz known as the Black Arts Movement . Arguably , that movement wouldn't have had the meaning it did without the political foundation . By contrast , for whom would contemporary Ayleresque rap have 'real meaning' , given the lack of a galvanizing , unifying , political consciousness today ?

That Gitanes CD , Bohemia After Dark is actually a reissue of Orgue Vol. 2 not Vol. 1 . Orgue Vol. 1 did come out on CD in 1988 . The CD used the Orgue Vol. 1 cover and contained all of Orgue Vol. 1 plus three of the six cuts from Orgue Vol. 2 ( odd , because all of Vol. 2 would have easily fit ) . I have that CD , and all I can say is , if you like Bohemia After Dark you will want to get your hands on this old CD ( easier said than done I'm afraid ) .

Don't know if you're a vocal fan Rolf , but if you are , then I would recommend this album . Had Ethel done what Billie did , and left Baltimore , she would be much better known today . Ethel possesses a lovely voice , and stylistically is closer to Sassy than to Billie . Lullabys For Losers has a moody after-hours feel , with Ethel's languid phrasing perfectly suited to the emotion behind the lyrics . The ever-tasteful Hank Jones is on piano .

It isn't OK but it costs too much to protect the copyright. That is the big flaw in the law. One would think if you paid the government for a copyright, they would prosecute on your behalf but that is not the way it is. Since there is criminal law in place even for non-commercial infringements , it is not that the government cannot prosecute , but that they seemingly will not enforce the law . The present environment is somewhat akin to Prohibition . The only infringers at risk it would seem are the 'volume' ones for two reasons . First , potential damage awards are large enough to justify a civil action , and second , multiple copyright holders are likely to have standing , meaning , that the financial bar to litigation can be removed through use of contingent-fee class-action suits . Google's YouTube is currently facing just such a class-action suit .

First off, a tip of the hat to Jim for getting this ship righted . I would like to join the other senescents in calling for a larger-sized typeface . Count me among those who prefer the old peach & lavender color scheme as well . This blue skin is rather generic , and this place now looks like a lot of other boards , including the one at allaboutjazz . I notice that all the personal photos in the member profiles are gone as well .

Someone tired of all those covers featuring preternaturally attractive fembots was shooting for a more natural beauty with this cover , but missed the mark and landed in uglyville .

Those '69 boots from Antibes and Stockholm contain songs that appeared elsewhere on various legit releases , save for one title , " Man on Mercury " . The version from Antibes runs 1:40 , while the version from Stockholm runs 7:02 . Not having heard these recordings , I'd like to know whether this Harold Land composition is a retitling of a composition that appeared on some official domestic release ? It did see release ( albeit with corrupted spelling ) on this bootleg (?) Yugoslavian LP .

Easily one of the worst reissue covers ever , was the cover for this Trip reissue of Mingus' Jubilee trio date :

Bourbon Street Parade

Here you go ....

This cover has always repelled me :

Indeed, he did! Jack Lewis was the A&R man behind many of Victor's best jazz releases from the fifties. Yes, he did supervise the Jazz Workshop series, but judging by the nature of much of his less adventurous work for RCA, I think he essentially just OK'd the JW projects (for which he certainly deserves credit). The musical supervision, I'd bet, was pretty much in the hands of the respective composers-leaders: George Russell, Hal McKusick, et al...... It was Fred Reynolds who produced most of the Russell Jazz Workshop , some of the Carisi Jazz Workshop , and possibly some of the McKusick Jazz Workshop as well , so perhaps Larry's surmise about Lewis is correct . Lewis' light-handed approach is creditable only inasmuch as it allowed brilliant musical minds to create freely ; in other contexts , when the musical muses were silent , the downside of such an approach was made manifest .

Did this store happen to be in Argentina or Paraguay ?

The scene-stealing performances of both Jimmy Woods and Dick Whittington should not obscure the fact that Lookin Good was the pinnacle of Joe Gordon's career , both instrumentally and compositionally . This makes his demise shortly thereafter all the more tragic . John Tynan wrote as definitive a review of the circumstances surrounding Gordon's death as we're likely to get : Downbeat January 30 , 1964