mmilovan

One can listen to FH band real close and to find great new world of swing before swing music. Thanks to our friend Agustin, I listened to 1932-34 period of this band, and how it sounded way back then it is unbelievable. You can instantly forget Benny Goodman (and I like BG) – he smooth the sound and the fire of FH arrangements. “Down South Camp Meeting”, “King Porter Stomp” sounds boring when played by BG comparing to FH band. What was real nice to compare late FH band (around that time 1932-34) and early Basie band that played and recorded some of FH arrangements (Basie told that FH sold some parts of his book during those first days of organizing OT band). Well, that is interesting Kansas City integration into NY sound And more to notice: BG band sound just like Fletcher's: Harry James did solos just like Red Allen, Vido Musso like Bean, and - Jess Stacy was just like Fletcher while working in rhythm section or taking some ocasional solos. Anyone notice those simillarities?

Only thinking of such possibility makes my eyes sparkle in blue flames

Yes, right - only one track. But hearing Miles, Pres, and MJQ playing together is terrific experience. I think that more tracks were recorded during Switzerland concert, to-day unissued.

Dude, standing on the stand right next to him while he plays is as closely as you CAN listen to him! Talk about a blessing, anybody who had that opportunity got one. Well, the point of above statement of mine was that I didn't know Miles transposed Pres licks to his trumpet. It is whole new dimension to listen to Miles from.

Well, I must say that reading this few days ago was real ear and eye opener for me: (...) "And then I met "the President," Lester Young, when he would come down from Kansas City to play in St. Louis. He'd have Shorty McConnell on trumpet in his band, and sometimes I'd come over with my horn to where they were playing and sit in. Man, playing with with Prez was something. I learned a lot from the way he played the saxophone. As a matter of fact, I tried to transpose some of his saxophone licks over to my trumpet." Miles, The Autobiography (Miles Davis with Quincy Troupe) I didn't know that Miles listen to Pres THAT closely. Miles was influenced by Pres, Trane, J. J. Johnson, Barney Kessel, Charlie Christian, Charlie Parker, Herb Ellis... and all of them mentioned that as theirs prime influence. Yes, folks, Pres really WAS something!

I've read something about Sony MZ-NH700 and it sounds very interesting to me. It has 44KHz 16Bit PCM linear non compressed recording function. It is great, and you can upload such recorded material to computer via USB cable. And it has mic in as well as line in. It sounds sooooo nice! Anyone tried this?

More news, bad news! If we are almost certain we have all we can have from great Pres, these few words from Catalog of Recorded Works (Lewis Porter) are to put little nervous breakdown to all of us Presophiles and Pres completists. Just look at the discography below – how many titles left unissued. But I don’t believe that all these titles are only from Feb. 22, 1950! Gee, what looong night it was then If you listen carefully to material on 16 CD set you can put list of audibly similar takes (lets say volume of each soloist was captured onto tape and his relative position to mic, reverberation and so on). Now, watch this: Lester Young Band February 22, 1950; New York City; Private recording, Savoy Ballroom (NOTE: The above date is spoken on one of the source recordings, but it appears that these sides derive from more than one night. ) Neenah (Blues Tres) (Jumpin' and Stomping (Inc.; missing beginning) (Charlie Parker PLP-402, CP 504, and Audiofidelity AFE 3-8) I Cover the Waterfront (Charlie Parker PLP-402 and Audiofidelity 3-8) These Foolish Things (Inc.; missing first few bars) (Charlie Parker PLP-402) Lester Leaps In (Inc.) (Charlie Parker PLP-402) Sunday (Inc.; missing beginning) (Charlie Parker PLP-402 and Audiofidelity AFE 3- 8) Destination Moon (Charlie Parker PLP-402) Pennies from Heaven (Charlie Parker PLP-405) Stardust (Inc.; missing first few bars) (Charlie Parker PLP-405) Mean to Me (Charlie Parker PLP-405) Stardust (different version, Young on last note only) (Charlie Parker PLP-405) On the Sunny Side of the Street (Charlie Parker PLP-405) Three Little Words (Charlie Parker PLP-405) Jumpin with Symphony Sid (Theme) (Charlie Parker CP 504; Young's solo abridged on LP) Up 'NAdam (often listed as "Up and At 'Em" or "Up and Atom") (Charlie Parker CP 504 and Audiofidelity AFE 3-8) Perdido (Charlie Parker CP 504 and Audiofidelity AFE 3-8) [Oh] Lady Be Good (Charlie Parker CP 504) 'Deed I Do (Charlie Parker CP 504) Seventh Ave. Romp (Charlie Parker CP 504 and Audiofidelity AFE 3-8) Lester Leaps In ending with Jumpin' with Symphony Sid (Charlie Parker CP 504 and Audiofidelity AFE 3-8) Almost Like Being in Love ending with Jumpin with Symphony Sid (Inc.; missing first few bars) (Audiofidelity AFE 3-8) I Cover the Waterfront (#1) (different version; Inc.; begins midway) (Audiofidelity AFE 3-8) I Got Rhythm (Audiofidelity AFE 3-8) Blues Original (untitled; Inc.; begins midway) (Audiofidelity AFE 3-8) One O'Clock Jump ending with Jumpin' with Symphony Sid (Audiofidelity AFE 3-8) D.B. Blues (Audiofidelity AFE 3-8) 'Deed I Do (different version) (Audiofidelity AFE 3-8) [Oh] Lady Be Good (different version) (Audiofidelity AFE 3-8) In a Little Spanish Town (Audiofidelity AFE 3-8) Blues with a Bridge ending with Jumpin' with Symphony Sid (Inc.; missing beginning, splice near end) (Audiofidelity AFE 3-8) These Foolish Things (different version, with vocalist; Inc.; missing first few bars) (Unissued) These Foolish Things (different version) (Unissued) Jumpin with Symphony Sid (two versions, both different than above, both Inc., begin in progress) (Unissued) Jumpin with Symphony Sid (Theme Only) (Unissued) Blues (untitled; Inc.; two excerpts only) (Unissued) Indiana (Inc.; missing first few bars) (Unissued) Indiana (different version, ending Inc.) (Unissued) Sunday (different version, ending Inc.) (Unissued) How High the Moon (Unissued) Up 'NAdam (different version; Inc.; missing first few bars) (Unissued) Tea for Two (Unissued) Sometimes I'm Happy (Unissued) Too Marvelous for Words (Unissued) I Cover the Waterfront (different version, with vocalist) (Unissued) (NOTE: There are also several unissued titles by the band without Young.)

Well, I think so. For further investigation, we can ask ariceffron abut track listing, times, and exact record label. Then we can compare it.

Cobb played last year in Belgrade. It was (as well as 3 years earlier concert of Roy Haynes) some of greatest moment of my life to see him playing, live. Cobb was perfect, almost quiet at times, and did no showman elements while soloing. Just music.

Yep, this is fantastic stuff, recorded privately (we hate those bootlegs, ain't we ), and some of the titles, according to discography left unissued till nowadays. It is perfect addition to already issued stuff at Savoy 2 CD set. Kenny Drew is the pianist there also. There are little known facts about the proces of recording the music, is it recorded at the same time (judging from what it can be heard it is not recorded the same day/night). Pres is powerfull, in perfect form and his playing is simply awesome!

One of the most interesting statements about Pres came from Kevin Eubanks: “Every instrument seems to have a prophet, like Coltrane was to tenor-we’re talking modern stuff, although you can’t get any deeper on an instrument than Lester Young.” These days, not very happy for me personally, I listened to Lester’s postwar period. These are mainly live recordings, and there is one among them I can really speak no words about. It is (fragmented) “I Cover The Waterfront” version from concert in Paris, Salle Pleyel, Apr. 6, 1952 (Young played last part in medley, and fortunately his solo was preserved in wax or on tape, entirely). So, why am I speechless about this short, bad recorded take? Because it proves words from Kevin Eubanks. There are nothing deeper, nothing so colorful, tragic, so firmly involved in jazz than this. Say, these are not words from beginner in listening to this wonderful music, but, experienced listener with more than 1000 CDs from every period of jazz. Everything is involved here: Pres and his unbelievable sense for “correct” as well as “unusual” rhythm patterns, his perfect ability to transform good, but well known tune into something totally different melodic line, song from the soul filled with strongest emotions – one can instantly cry after hearing it. And, to be honest, I did just like that, when I heard it first, strokes me directly into my mind, not to forget that 2 minute solo as long as I live. I am speechless, these are only bunch of unarticulated words I like to express about one of greatest of them all.

blue lake, yes, right as you said: a message from the future! Probably one of the first free jazz bars or solos ever.

Strange things happened to me, also, while listening all they to Pres (his live recordings), and only later realized it was his birthday.

Did someone noticed strange (?) coincidence: Pres and Shorter were born at the same day. I know that Shorter in his youth listened carefully to Lester and admire him a lot, right? Happy Birthday! (And for all natal observers and analizers, Bird was born just few days later)

As probably some of you board members know, he is and will be my favourite jazz musician of all times. Pardon, not jazz musican but, as someone put it out, "walking poet". http://www.organissimo.org/forum/index.php...hl=lester&st=60

Oops to all Presophiles: It is phrase at the beginning of second A part “Jive At Five” solo (not “Easy Does It” I missinformed you) “Homeward Bound” is built/composed upon. And it is “Bud’s Blues” Spontooneous mentioned in his post. Bud, Stitt, Roach and Curly Russell are on that session (NY, Dec. 11, 1949) Rewinded track in my mind and – it clicked. Yesss… Quite interesting. One 32 bar improvisation solo and so many compositions made of that one particular moment... I am almost certain that Gerry Mulligan has one composition in one of his Columbia albums based on some Lester’s solo (have to listen, don't know exactly). Mulligan probably was, one of the few man who understood Pres in its conception the best. Bird is another.

Now, here is the real mystery: I have “Homeward Bound” recorded by Nat Cole Trio, LA, May 1st, 1946. – for Capitol. It says that Capitol rejected to issue this master, but mine is in Chronological Classics 938 – Nat King Cole, 1946. Composers credits goes to Feather (it is not said if it is Leonard or other person composed this one) but… but… I am almost certain that theme riff (A part of AABA type tune, not certain what harmonies tune is based upon) is, in fact, Lester’s famous of all famous “Easy Does It” solo, recorded in studio with Basie OT band – second A part of his 32 bar solo. Anyone has good ears and historic knowledge to confirm this?

Chu Berry and Lester are of course on "Lady Be Good", and IMO Lester cut Chu...

Pres, Sweets and Rushing for Verve... Mmm... Invisible donuts...

I am looking for a good sound card that will replace my existing SB Live! at my system. The idea of new one is to have 24Bit/96KHz sample rate for straight linear wav recording. I was thinking of new SB product such as Audigy 2, but I was told these are not such good products. Is there any alternative? I saw Terratec, and people says they are satisfied with them, but I also saw M Audio card for around 250 EUR – that is called “audiophilic”, or especially designed for that use. Still it is among expensive ones, so I wonder, are there recommendations among others products, or it must be price class around 250 EUR to get audiophile results while recording with sound card… What are yours experiences?

Bernstein can also play very good bowed bass, had him on session recorded year earlier. It was not an easy task to do properly these days. Dandridge certainly was under strong Waller influence, but he was strong and creative enough not to be straight Waller's copy.

One of my favourite Jacquet recordings is where he plays "Don't Blame Me". Still I have no data when it was recorded, but according to sonic quality of recording it can be either studio or live recording from around 1945. Jacquet fans can confirm the exact date. The gruop included some very nice muted trumpet playing. Some of my favourite music ever.

Mr. Nessa, well, strange or not, coincidence certainly is, but it is powerfull session as well, I agree. And, while Dandridge playing is so and so, his vocal is interesting one. Hope you'd hear Bernstain...

Not so long ago I started thread on some other board: "Anyone heard this talented bassist? He played with lot of mid 1930's band, and finally he was hired by Benny Goodman (you can hear him with Goodman's combo with Christian, I am in hope these tracks are in much better sound today on new Columbia's release). He had big, full sounded tone, but flexible enough. Despite poor record equipment of the past Artie can be recognized instantly!" Still, got no response. But what matters, I'm trying the same here on our board… Now, why I'm doing this? Because today, during my usual listening hours while at work, I heard Artie doing that perfect bass playing in combo that included Roy Eldridge, Chu Berry, Putney Dandridge at the piano and other relatively unknown players (Nappy Lamare, g; Bill Beason, dm). Session took place on June 25th, 1935. I listened to "When I Grow Too Old To Dream" track. You know folks what happened? It was shock to my ears and my mind, knowing someone to play so clean and, at the same time powerful bass one can ever imagine! Bernstein is musician of Walter Page caliber, his lines have that 4-in-bar feel Basie rhythm was famous for. And, everything CAN be heard on that limited recording equipment of mid thirties! Fantastic, amazing!!! You've got to hear this session, and work of Bernstein as well!

R.I.P. He will always be one of mine favourite sax players. And it is time to spin "Bottoms Up", the album he did for Prestige, and to again listen his "Flying Home" (original with Lionel Hampton).