Ken Dryden

I am interested in obtaining most of these CDs, preferrably via trade, but if you have them for sale, let me know: Svend Asmussen: Fiddler Supreme Intim Musik Benny Bailey Big Brass Candid Chet Baker: Chet in Paris, Vol. 1 Emarcy George Barnes: The Complete Standard Transcriptions Soundies Ray Bryant: Plays Basie & Ellington Emarcy Ray Bryant: Blue Moods Emarcy Jim Cullum Jazz Band: Honky Tonk Train-The Boogie Woogie Craze Riverwalk Danish Radio Jazz Orchestra: Play Bill Evans Stunt 204 Buddy DeFranco Quartet: Five Notes of Blues Musidisc Dick Garcia: A Message From Garcia Blue Moon Dizzy Gillespie: Dizzy on the French Riviera Verve Benny Goodman: Live Down Under 1973 Jazz Band Dexter Gordon: Bopland-The Legendary Elks Club Concert Savoy Jon Gordon Quartet: Witness Criss Cross Jon Gordon Quartet: Ask Me Now Criss Cross Urbie Green: Just Friends (2 CDs) EJs Sir Roland Hanna: Everything I Love IPO Clifford Jordan: Royal Ballads Criss Cross Andy LaVerne: Serenade to Silver Steeplechase Lou Levy: Ya Know Verve Joe Locke: Beauty Burning Sirocco Joe Locke: Storytelling Sirocco Joe Locke: State of Soul Sirocco Joe Locke: 4 Walls of Freedom Sirocco Joe Locke: Dear Life Sirocco Joe Locke: Sailing Pony Canyon (Japan) Brian Lynch: At the Main Event Criss Cross Brian Lynch: Back Room Blues Criss Cross Adam Makowicz Trio: Interface Gazell Jim McNeely: Winds of Change Steeplechase Marian McPartland: Marian Remembers Teddi Halcyon 118 James Moody: Homage Savoy 17200 James Moody: The James Moody Story Verve 065509 Lee Morgan & Thad Jones: Minor Strain Roulette Oscar Peterson: Hallelujah Time Moon 50 Bud Powell: Ups and Downs Mainstream Jimmy Raney: But Beautiful Criss Cross Jimmy Raney: Wisteria Criss Cross Charlie Shoemake Groups: Sometime Yesterday Discovery Paul Smith: By the Fireside Savoy Sphere: Bird Songs Verve Sarah Vaughan: No Count Sarah Emarcy James Williams Sextet: Progress Report Sunnyside PM me with available titles and I'll send you my trade list, which includes two different editions of the Tom Lord Discography on CD-Rom... though it will take a number of discs to trade outright for either one of them. Thanks, Ken

As far as I know, I believe that Steve Gilmore and Bill Goodwin are still members of the Phil Woods Quintet. TPR seems to be Amadie's own label, I've enjoyed each of his recordings and reviewed the last two for All Music Guide: Let's Groove: http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:6kqog4actvoz Live at Red Rock Studio: http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:9frsa9wgw230 It is amazing to consider what Amadie has to physically endure to complete a recording session; retakes are out of the question.

I actually do have a review copy of Let's Get to the Nitty Gritty on the way to me, though I don't know where my review will appear.

Dave Brubeck was the guest on the only videotaped edition of Marian McPartland's Piano Jazz. My wife and I attended the taping in Columbia, South Carolina and I reviewed it for All Music Guide after they finally got a copy of the video to me. Supposedly a maximum of 60 were made, though I'm sure numerous folks taped it when it was broadcast around the country (but not on our local PBS station). Here's the link: http://www.allmusic.com/cg/amg.dll?p=amg&t...10:shjgtq9zpu47 I can tell you that they had to redo "In Your Own Sweet Way" after the intermission, due to some unannounced technical problem. I'm afraid that I reproduced the error in posting by the Piano Jazz site for the last track from the Andrew Hill program. I agree that the song is "Always" by Irving Berlin; I'm not even sure that Stevie Wonder has ever published a tune under the title "I'll Be Loving You Always," though I hardly claim to be an expert about his work.

I have quite a few of Toshiko Akiyoshi's LPs and CDs, including a Japanese CD reissue of Top of the Gate. It's been awhile since I heard it, but I checked out my AMG review, where I mentioned the problems with the sound--here's the link: http://www.allmusic.com/cg/amg.dll?p=amg&s...degcqt&writer=1 One of the rarest items by Toshiko that I own is United Notions: Toshiko and Her International Sextet. Sadly, most of her CDs seem to be out of print in the U.S., including a pair she did for Concord.

For Sale: Sealed copy of Jimmy Cleveland's Introducing Jimmy Cleveland, an out of print limited edition Verve Elite reissue. Make me an offer...

I don't think that Aaron Weinstein's CD is all that bad, though I don't think that he's a groundbreaker by any means. Give him time and some seasoning and see what happens. Few 20 year old musicians are ready to make any major impact on jazz. I'd rather hear any Arbors release than CDs by those who dumb down their music with sampling, turntablists and forgettable poetry.

Shane: I wasn't overly concerned about defending Michael Cuscuna, whose work needs no defense. One can't hold grudges in this business. I am frustrated with not getting more liner note assignments but there is a lot of competition out there, plus many artists have their favorite writers. But I keep on asking. Starting a reissue label is tempting but a bit out of my financial grasp. At least I would know who to send review copies to with my long list of contacts! Cheers!

I can't imagine anyone resorting to such juvenile namecalling about Mosaic's Michael Cuscuna. I'm sure that the leases of material from various companies' vaults don't come cheaply, not to mention that he has a risk factor of having to sell many of these sets within a fixed time frame per the lease agreements. The prices the label charges for their discs are more than reasonable, given that they return a lot of rare material to print, have thorough liner notes written for the projects, as well as reproducing session or period photos in each boxed set. Once the label had the ability to issue CD versions of their sets, they had to strike a balance between estimated sales of CDs and LPs. The production costs of LP sets have increased, which has limited the number of titles available in that format from Mosaic. European bootleg labels that don't pay royalties to anyone involved in making of the original recordings can obviously get by with selling an inferior product for a lower price per disc. While some record label heads deserve to be in a hall of infamy, especially cheapskate Herman Lubinsky (who founded Savoy) who was notorious for not paying musicians, not to mention a few others, Michael Cuscuna is one of the good guys in my book.

According to Dr. Herb Wong, Ken Gorelick could play pretty damned well in high school, before he reduced his sound to a pop sound. Whether or not Gerald Albright, Najee or the late George Howard were ever capable jazz musicians is a moot point. The recordings that I've been subjected to have consistently been of no interest, playing the same bland riffs over and over, with equally empty solos.

I've reviewed two Kenny G releases. One, Silhouette, had its last line removed by a newpaper editor: "Calling this a jazz record is like hanging a silhouette next to a DaVinci painting and calling both masterpieces." The other, a scathing review of the ridiculous Classics in the Key of G, was never published by the outlet to which it was submitted. At least I got paid for my work... If Kenny G were a rapper, he'd be Vanilla Ice, if he were a classical performer, he'd be Liberace (though I'm sure he's straight). He's part of the hairdo music school: Yanni, John Tesh and the like, with nothing to offer.

A little late in my reply, but... I own a VHS copy of 200 Motels and also the live bootleg of the "premiere" concert with Zubin Mehta conducting the L.A. Philharmonic, plus FZ and a specially assembled group of Mothers. The fidelity is so-so, the jam upon "King Kong" (including some of the orchestra members) was unfortunately not recorded. There str also a few songs floating around that were destined for the film version of 200 Motels but didn't make it including "Interview" (heard on the boot Remington Electric Razor). One other song (the title is not clear) is in the movie, not on the soundtrack, on a live bootleg (Safe Muffinz) but not listed on the cover.

If you have to sell it, you do so, auctioning the most valuable stuff and listing everything else on bulletin boards like those on organissimo website. Since my wife and I paid off our mortgage last year and we have no long term debt, it is hard to imagine a scenario that would require me to sell my music collection.

My only chance to see Al Lewis in person was during the 2003 JJA Jazz Awards show. Both of us were to side of the stage and he was getting antsy about when he was going on. It was worth the wait. After Stanley Crouch bored the audience with a self-indulgent but hardly memorable drum solo, Lewis later reminisced about 52nd Street during the 1940s and mentioned "I remember Big Sid Catlett, now there was a real drummer!" to the groans and snickers of many of us. Rest in peace, Al Lewis.

I can just see someone casting Samuel L. Jackson.... After all Billy Dee Williams was miscast as Scott Joplin, with Dick Hyman playing piano for him.

I don't know what sounds more ridiculous...the plot of this film (spies who could be good enough musicians to play with Duke Ellington) or the casting of Morgan Freeman as Ellington. Freeman is an excellent actor, but the resemblance just isn't there.

Offering two videotapes: Clark Terry In Concert (with Duke Jordan) Ruby Braff Trio (w/Howard Alden & Frank Tate) In Concert Make a $ offer or a possible trade; LPs, CDs, and VHS will all be considered

One of things that I admire the most about Nat Hentoff is that he can't be labeled one of those politically correct schmucks. How many atheists do you know that are pro-life? It must drive some of his ACLU colleagues nuts! No matter what the subject, Nat Hentoff demonstrates passion and knowledge of it, whether you agree with him or not.

Allen: That was a pretty funny post about your top jazz minds, but didn't Leslie Gourse die in 2004 or so? I'd love to compare my collection of jazz piano CDs and LPs to some of the bozos that took part in this survey. If anything, there was a bias against a lot of the older players. Since Nat king Cole helped inspire so many pianists, it is hard to imagine him listed so low. Ralph Sharon and John Bunch make the cut? Good musicians, but not top 50 material in my book. Much as I like Bud Powell, there is no way I'd rank him above Art Tatum (who should have been #1 in the first place). A better book would have been to name one's own top fifty and defend it, rather than hide behind a huge survey and state "The people have spoken."

I afraid that surveys like this are beyond useless unless you only survey actual jazz pianists. I would trust them more than also including critics, publishers and miscellaneous entertainment people. Jaki Byard didn't even make the cut, Previn #7 (I enjoy him, but it's hard to see him making the top 50 at all).

I don't lend or ask to borrow CDs or LPs. If I want something that badly, I'll find a copy to purchase, even if it's out of print. I've lost far too many books over the years by loaning them to friends who asked.

Louis Armstrong's second wife, Lil Hardin Armstrong, suffered a fatal heart attack while performing at a memorial tribute to her ex-husband on Aug. 27, 1971 (she was playing "St. Louis Blues" at the time).

Add the following: Clayton Brothers: It's All in the Family (Concord LP, her recording debut) Ray Brown: Soular Energy (appears on one track) Deuce: Deuce (a female band, probably fusion...) John Colianni: John Colianni (Concord) Chris Hunter: This is Chris (Paddlewheel) David Benoit: Waiting For Spring (GRP) a real disappointment, as Benoit doesn't make use of her solo talent much at all Emiko Kai: Some Other World I also have several broadcasts of Emily Remler available to exchange with others who trade broadcasts (non-commercial material only please, as I do not dub commercial releases). Please PM me if interested.

Bill Evans died at 51, so it would be hard to imagine that he could possibly be the most recorded jazz pianist in history, even with the appearance of so many posthumous bootlegs. His appearances as a sideman were infrequent, particularly after 1960. Neither All Music Guide nor Tom Lord's Jazz Discography will list everything, simply because it is a Herculean task to gather so much data from the history of recorded jazz, including every European and Asian release, let alone the numerous independent or long defunct small labels. I am glad that both of them exist and I regularly contribute to each of them.

The person(s) assigning the ratings to the individual albums may not be the same as those covering the Mosaic sets. That said, I have found ratings on CDs I have reviewed for AMG, given them lower or higher ratings than they were first assigned, and found no change at times, even after my review is posted. I don't know why this happens...