Chas

Why how puckish ! Like something Steve Allen would pull . Was that Creed's idea ? She's the wife of the guy second from the left perhaps ? Is that David Amram ??

Guy you're being coy ; those gams belong to Ms. Putnam n'est-ce pas ?

Yeah what was up with Janet Putnam ? Was she in the witness protection program or what ? Love the way O.P. is holding that cigarette !

This paragraph appeared in an earlier draft and was edited out :

Irma died in 1993 . Lee Young died.....?

You don't have to spend that . You can find out for two or three " big ones " :

No , you can't use sex to sell a product to a woman , but you can use a product to sell sex to a woman...

Things could be very different if you were there witnessing this stuff as it happened. Agreed . Some of the comments here evince an innocence of hermeneutics ; if we're going to engage in meta-critiques of earlier critical writings let's be mindful of the pitfalls of ahistoricism . ----------------------------------------------------------------------------------------------------------------------------- The notable thing about Williams' review is , as I said , how his reservations are rooted in his failure to connect emotionally with Coltrane's music . Resting his critical opinion on that failure implicitly acknowledges that ratiocination is always handmaiden to the affective experience of music . Now to be sure , there are passages in Williams such as the one Paul cited , that seem to stand this on its head , but his criticism of Africa Brass does not ultimately rest on perceived shortcomings of 'technical order or logic' , but rather , Coltrane's inability to communicate emotionally to him through sound . I can wish that he would have said more about this , but writing expressively , and personally , about one's feelings , for a public , is more difficult than detailing the technical aspects of the music . Music critics are often uncomfortable with the inherent subjectivity of their criticism , hence their sometimes inordinate discussions of the technical aspects of musical performance in a misbegotten attempt to establish some objective stance thought to reliably yield 'truths' on which to establish their credibility . ----------------------------------------------------------------------------------------------------------------------------- In this I should think he would have had plenty of company among contemporaries with 'progressive' political commitments and among those desiring that jazz be treated with the 'seriousness' accorded other Kunstmusik . ----------------------------------------------------------------------------------------------------------------------------- Clementine , reading past your ad hominem attacks on Williams , you acknowledge the constraints of " time/place/economics " on his critical thought , yet express frustration that he didn't transcend these limitations . Yet you failed to articulate what critical social theory re: the role/function of 'aestheticians' would make such a misgiving comprehensible . Instead of fleshing this out , your latest post seemingly shifts your critical focus away from content and on to form , in the shape of an attack on Williams qua writer .

It was Berkeley, not LA. Which "Fitzgerald - Michael? Source, please .... Yes Michael Fitzgerald . Re: Dues Blues , does Bruninckx list the location as " University College of Los Angeles " ? If yes , then perhaps Michael is guilty of recapitulating an error found in Bruninckx , which would be an irony indeed , since Michael has always been quick to point out Lord's tendency to uncritically incorporate such errors . The odd use of " University College of Los Angeles " in place of the correct " University of California , Los Angeles " might lead one to suspect a larger error . While Dean Reilly may understandably have trouble being sure about the year , presumably he would have an easier time recalling in what city Dues Blues was recorded . If he has ruled out Los Angeles , then it seems likely that Fitzgerald has both the location and date wrong . Pointing in that direction is Bay-Area-resident Gleason's use of " University of California " in the liners on Fantasy 3-264 . Though what does it say about the reliability of Gleason's notes , when he lists Collins who wasn't at the concert , but omits Duran who was ?

FYI , Bish's wife Valerie drops in here on occasion . I hope she sees your post . As a Coral Keys owner let me just say that that was a hell of a magnanimous gesture on your part .

Not correct . Ralph J. Gleason in the liner notes says Fools Rush In was recorded , " at the University of California in August of 1955 " . Fitzgerald lists it as being recorded at the University of California , San Franciso , August 1955 . The live track Dues Blues with Tjader and Guaraldi , was recorded at UCLA in January 1958 . Fitzgerald gives the location as " University College of Los Angeles " which I take to be UCLA ( University of California , Los Angeles ) .

Not the best scan , but it'll do for now :

AOTWs often elicit unanimous praise , so for a change of pace I thought I would post this review of Africa Brass from Martin Williams . A critic who ' got ' Ornette Coleman early on , but who never really ' got ' John Coltrane , Williams is thought by some to be too cerebral or formalist in his criticism . Yet his criticism of Africa Brass rests on Coltrane's inability to communicate in a way that Williams finds emotionally satisfying . I find this difficult to fathom . Coltrane always connects with me emotionally , viscerally , sounding like he has to play what he does ; his playing never sounds like an exercise , never sounds self-consciously avant-garde . It's this emotional directness that appeals even to those who otherwise eschew avant-garde jazz . Anyway , here is what Williams had to say in support of his two-star review : " Certainly no one could question Coltrane's particular skill as a tenor saxophonist . Nor that his ear for harmony , his knowledge of it , and his use of it , can fascinate . Nor do I question that his playing is honestly emotional , if , to me , somewhat diffusely so . What I do question is whether here this exposition of skills adds up to anything more than a dazzling and passionate array of scales and arpeggios . If one looks for melodic development or even for some sort of technical order or logic , he may find none here . In these pieces , Coltrane has done on record what he has done so often in person lately , make everything into a handful of chords , frequently only two or three , and run them in every conceivable way , offering what is , in effect , an extended cadenza to a piece that never gets played , a prolonged montuna interlude surrounded by no rhumba or son , or a very long vamp 'til ready . Africa is African by the suggestion of its rhythms . It has some brass figures that , for me , get a bit too monotonous to add variety and which are also in general too much in the background to add much of their own . I must say that Workman and Davis , particularly when they work together , fascinated me , and that Tyner plays a good solo . These three also manage to swing , and they provide one of the few instances of real swing in this recital. Greensleeves is converted into a 6/8 Gospel-like meter , but once you have the hang of that , after a chorus or two , you have the hang of that . On Blues Minor , which seems to me uncomfortably close to Bags' Groove , Coltrane again begins a kind of ingenious workout on a couple of repeated chords after a chorus or so . The point is not that it is impossible to make high art out of very simple materials . Many a blues player can make fascinating music on three chords , two chords , one chord--even no chords really . Nor that it is impossible to make fine jazz solos out of arpeggios : Jimmy Noone did it , Coleman Hawkins does it , Coltrane has done it . Perhaps my remark in the beginning about emotion does hold an answer . After all , Noone and Hawkins both have a directness and organization of feeling within each piece and a variety of feeling from one piece to the next . " Downbeat January 18 , 1962 p. 29 , 32

Bringing this thread back on topic , I expect that we will soon see one of the European public domain labels give us , " the complete early Brew Moore sessions " . This would be welcome for a couple of reasons . First it would include the Brew Moore Savoy 10-inch tracks that were reissued on a double-LP in the mid-seventies called , ' Brothers and other Mothers ' . Second it would include this record that Fantasy reissued on OJC vinyl in the early eighties but never got around to issuing on CD : One track on this LP has Brew with Cal Tjader and Vince Guaraldi recorded on a gig at UCLA . Such orphan tracks always leave one wondering if there might be more material awaiting issue .

One that I play quite a lot is this one : The trio tracks are especially strong ; Jordan displays his great touch and elegant lyricism throughout . His solo rendition of Summertime is a highlight . Beautifully recorded by Van Gelder as well . Re: Bill Barron on Savoy -- Tenor Stylings is easily recommended , but the Modern Windows Suite CD is incomplete ; Hot Line was out on disc but hard to find . And this Barron Savoy from 1972 I don't think has been on CD :

Does it contain the 2 extra tracks? They are really fine. Which extra tracks? The Japanese remaster TOCJ 6560 and all other CD reissues of Smithville that I know of have only 5 tracks. "Tunesmith" and "Au Privave" . First Issued on "The Other Side of the 1500 Series " ( Japan) .

Good thread with lots of good recommendations ; kind of makes me miss the BNBB's Vocalists forum . Anyone know what's up with the Songbirds list ?

From this thread here is the list : June 5th 2007 Connoisseurs Andrew Hill-- Change Jimmy Smith-- Straight Life Kenny Cox-- Introducing Kenny Cox Frank Foster-- Manhattan Fever Stanley Turrentine-- Blues for Del Stanley Clarke-- TBA EDIT : Jazzitude lists the Stanley Clarke as ,"TBA Heads Up " . Stanley has a CD due out in June on this label , but it won't be a Connoisseur of course .

They are being released 20 at a time . 80 titles so far . Click on 'Backnumber' , then use the pull-down menu on the right to see each batch . Here's hoping the Japanese engineers can work their mojo on George Wallington's Knight Music . Having heard the original wax and the Koch CD , I sincerely doubt it . Not one of Rudy's better recordings ; the music deserved better .

John's link to the Nat Pierce cover is dead , so for the one or two people who care , here it is :

FWIW , Downbeat gave the Leonard Keynote LP a one-star review . Not having heard it , I can't tell you whether that review was justified or not . I will say that if nothing else , the cover is interesting ; like something on the Saturn label . Leonard was with Chet Baker in 1956 and then.....?

I don't know , but what's wrong with the sound on The Prestige Trio Sessions ( containing Little Barefoot Soul and Chun-King ) put out by Fantasy a few years ago ?

You didn't see my post above ? AMCY-1271 Inner Space is what you seek . Keep your eyes on this reissue program from Warner Japan .

I've got both of the Kenny Cox records and the Frank Foster , but none of the others I think . The Turrentine Blues For Del is presumably New Time Shuffle ( out in the LT series ) . The Andrew Hill Change is...?( the stuff with Sam Rivers that was on Involution ?? ) The Jimmy Smith is...?

Steve Allen was Buck Hammer. And Steve Allen's maid was the Mary-Anne Jackson pictured on the cover of " The Wild Piano of Mary-Anne Jackson" . That record , along with the Buck Hammer , was issued on Steve Allen/Bob Thiele's Hanover label . Allen was culture-jamming before it had a name .