mmilovan

OK, that sounds reasonable... but where is Big Sid Catlett then?

People, there is no need to do our blindfold tests! Here is one that you can watch and listen with all eyes you have, but just answer one simple question - Who's the electric guitar player on this 1937. Benny Goodman clip (remember it's two years before Christian) - "One O’clock Jump" (2:10-2:25)??? Allan Reuss? But he played acoustic rhythm guitar, right - and this is advanced and surprisingly good electric guitar playing in its early form... http://www.youtube.com/watch?v=MV2kGkpfuS8 I simply can believe my eyes and ears, last passage he plays shows his abilities and quialities buried in one chorus solo time limitation of film clips... And who is the bas player - Artie Bernstein? And who is the piano player - that sounds like it isn't Jess Stacy! Teddy Wilson overdub - listen to that harmonically complex, unusual run at the end of a solo??? Oh, do we know enough about jazz history...? Did we listen enough?

Hell, it's interesting to know how many great bands existed around that time, during 1950's/60's... today almost forgoten... Meanwhile, we can watch another great organization - Artie Shaw and his band: http://www.youtube.com/watch?v=YLIh6e-U708 http://www.youtube.com/watch?v=NpVgSxsP5V0 http://www.youtube.com/watch?v=luH5DsVsK5U Last one shows us that "Concerto for Clarinet" was not written with fixed clarinet solo (as todays interpreteurs always play it). Great find!

So, those clips are form 1960's? It looks like they are recorded in some radio studio room, rather then television studio. Now that band IS a mistery band, really... I can not connect that person who directed to that band to anybody (thin moustache looks strange) - certainly it's not her's husband Paul Weston: http://www.johnnymercer.com/memory/pw.jpg It's not Jack Fina, to whom is song connected with: http://www.collectable-americana.com/image...81/JACKFINA.jpg It's not Freedie Martin suggested by this link: http://www.ejazzlines.com/Featuring-Stan-K...THE-p46805.html because he looks different: http://upload.wikimedia.org/wikipedia/comm...oorCanteen3.jpg This clip: http://www.youtube.com/watch?v=QvYIiFcPfv4 taken from April 9, 1958 TV show, shows Jo looks simmilary to Jo captured on "Gentlemen Is A Dope"...

OK... You know, a lot of things happened during my disapearance...

It think it's different: http://www.amazon.com/gp/music/wma-pop-up/...3728355-7748752 And here is picture of Gil around that time, God knows if he is or isn't on that clip... it can be...

Holy shit! I'm not a huge Jo Stafford fan, but GOOD GOD is that a great cut! Call me crazy, but is that possibly Gil Evans leading the band? And what's most interestnig, this live take sounds way better than parallel studio version! Gil Evans or not, it was very, very nice band, with such groove...

I don't hear the bass drum as too loud - we're used to unnaturally soft bass drums from studio recordings beacuse audio technicians were afraid the cutting stylus would jump out of the groove, and producers didn't like it. Drums are recorded at too low a volume on most recordings. This is quite interesting point, I never thought in such way... Anyway it's good to hear Doc West, almost forgotten swing-to-bop or pioneer of bebop drumming in such setting. Another interesting thing I have to check in LY discography/biography (I'm writing these lines by heart): Shad Collins and Doc West were members of first Lester Young band (1941). Also, Young recorded one extremly rare session with Sammy Price around time when these acetate recordings were made. That studio session took place somewhere outside NY - so location of this club date can be outside NY, too, right? One thing more: listening to sound clip mentioned above, any jazz fan must admit Young is simply great on these takes, he is constantly involved in process of throwing unusuall, eccentric lines, dissonant intervals and rhytmic patterns, while, at the same time, his confident melodic lines are at theirs most intense volume...

Unknown location (probably club date, maybe Village Vanguard), Dec. 29., 1940. Lester Young (tp), Lester "Shad" Collins (tp), J. C. Higginbottom (tb), Sammy Price (p), Harold "Doc" West (dm). Listen here (well it's not "state-of-the-art digital preservation", for that one we'll have to wait - anyway, one can hear clarity of the original acetate source, despite bass drum recorded loudly unbalanced) : http://www.npr.org/templates/story/story.p...ft=1&f=1039

Oh, this was almost simultaniously, and I believe in telepathy And you know what clip excited me the most (not counting the above mentioned - these are beyond any categhory) - Jo Stafford: http://www.youtube.com/watch?v=bE1lCcSnVqY She is so refined and band (that I know nothing about) really swings like mad!!!

Within weeks of a "paid" issue an EU "public domain" version would be on the market. How much would you pay to clear the legal hurdles, perform the research and place it in the marketplace? $10-20,000? Be my guest. Well, of course... we can only hope there will be more interest (and enough money) in getting this 30 minute session to today listeners... judging from what I've heard (few minutes except) it is Lester at his peak.

Just found official link: http://www.loc.gov/loc/lcib/0605/young.html Some of most interesting parts: "DeAnna said no one has come forward yet to release and market the Lester Young recording, but the Library will make a digital master to preserve the sounds from the fragile lacquer discs." "The electronic transcription technology that Chalfin used to make field recordings in the 1940s was the most advanced at that time. Amplifying sound to literally "cut" grooves in lacquer-covered discs was the next step up from acoustical recordings made with wax discs." "The next step is to make a digital master directly from the lacquer discs. However, noise and vibrations from recent construction projects at the Library's Madison Building have made it nearly impossible to record analog discs at preservation quality, so this digital-preservation project may have to wait until a state-of-the-art digital preservation laboratory opens at the National Audio-Visual Conservation Center in Culpeper, Va., sometime next year."

That's beuatifull... perhaps John Jackson was the first of the army of players influenced by Bird. It is nice to know that. Perhaps, Bird borrowd from John, also.

He's alive man, more then ever!!!

I couldn't agree more!

Hello my friend, These are one of those rarest, from one of the most important period in Pres' career - his transition from big band (Basie) to small group format. Gee, I forgot where are those URLs to excerpts of this live session...

Judging from what I've heard, it is Pres at his peak - long wavy phrases, "free" adn disonant licks and things. Sonicaly, I think it's on the Bird and Diz 1945 Town Hall concert. Brilliant, in short. These 16" 33rpm acetates really can sound perfect...

One of my favourite pianists, ever. Those early sessions with Miles and Bird would be incomplete without his playing. Miles didn't like him, and he told in his autobiography he taught Jordan to play piano...

Anyone heard those sessions - did he sound like Bird?

Happy birthday, Prez... We are patiently waiting to hear that 1940's material from LOC...

Barney as in Barney, but with that special Inspecteur Clouseau accente.

Jim R, many thanks for that attachment, but it's only part of the story, I'm affraid

Just small addition to this method - to my experience it works for 78s made of shelac and not on vinyl pressings. When vinyl is distorted it can not be safely return to its original state withour distoration of the geometry of the disc.

Hello people, my front cover of this particular disc I bought in flea market shop is absoulutely useless. Someone dropped a glass of water or juice, and every part of that cover (and inside discographical information and essay) is completely unreadable and totally spoiled (pages are glued together). Can anyone provide me with a jpg scan of this cover (300 dpi would be nice) or perhaps some link to this one? My email is milanpmilovanovic@gmail.com or mmilovan@yubc.net Thanks. Milan Milovanovic

Me too. Audible bass druming, despite the fact that bass drum were not recorded often in later jazz recorded history for possible "needle skipping" reasons...