Ken Dryden

I avoid televised award shows, especially the Oscars and the Grammys. I rarely go to movies and the artists featured performing or being honored on the Grammy shows are of absolutely no interest to me.

Found in a used bookstore yesterda and I'm just getting started reading it.

Martin Bormann's remains were identified several decades ago and I seriously doubt that Hitler could have kept his mouth shut if he had made it to Argentina. The Soviet Union found the partially cremated remains of Hilter and Braun and took them back to their homeland. There is no telling how much stolen wealth made it out of Germany, I could see some of it turning up, much like the confiscated paintings have appeared when they are researched for provenance before being put up for aucition.

The song was identified earlier in the thread. Hardly close to praise-and-worship, which in churches around here means boring, repetitious modern praise songs with banal melodies played by rock bands.That kind of music will get me out of a church pronto!

Dave Brubeck told me once that he loved hearing Erroll Garner. Much like Oscar Peterson, he gets a bad rap. One guy I just couldn't get into was Jacques Loussier playing jazz treatments of Bach, his recordings felt mechanical to me and I have ong since disposed of his Telarc Jazz CDs.

An Englishman, a Frenchman, a Spaniard, and a Dutchman are all on a Zoom call with their company's CEO. The CEO asks, “Can you see me?” They respond, “Yes,” “Oui,” “Si,” “Ja.”

Next up are trigger warnings for the Three Stooges shorts due to the excessive violence. I remember having to edit an interview with a European jazz artist that I aired on my radio show because his answer to my query about how he discovered a vocalist unfamiliar to me who was on his new CD: "I was sitting on the toilet and I heard her on the radio in my daughter's bedroom." I guess that I should of aired it without mentioning it to the PD and station manager.

The obvious solution to rejected performances is that the contract should specify that all of them are to be returned to the artist. Both Gerry Mulligan and Marian McPartland spoke to me about their digust with rejected material being issued years after they had recorded for a record label. As for the Tone Poets, I don't care, if the series is a moneymaker, they obviously should keep re-releasing the LPs. I've felt the same way about record store day LPs, I would rather have a CD, though they aren't always offered immediately in that format. There was a delay before the Sonny Clark RSD LP set was issued on CD and there was extra material.

I found the two CD version a couple of years ago for around $5. Great music!

I have no use for buying overpriced Tone Poet LPs of music I've owned on CDs for years with bonus tracks. My money is better invested elsewhere, as there is plenty of music I haven't heard that awaits me, even after a half century as a jazz collector. Artists are frequently fed up with subsequent owners of labels issuing material they rejected at the time, John Fogerty has the right idea, as he destroys all unissued takes when they don't meet his standards. That way he will know that he won't be dealing with unapproved issues of rejects, unless he has a crooked engineer with a hidden hard drive or tape machine on the payroll, which is very unlikely, since it would make the engineer liable for future lawsuits.

I can't say that I listen to a specific recording over and over these days. Between the new releases and purchases, there is always lots of music awaiting a first hearing.

This was the only occasion when Yusef Lateef performed in the city of his birth, Chattanooga. I remember Avery Sharpe played bass, but I have forgotten who else joined him for a memorable set.

The one thing that might have made Africa / Brass more interesting would have be featuring other soloists. It is a masterpiece, in many case.

I suspect that you already know the answer to your query about George Lane. 😁

There's a story about Slam Stewart having a bit too much to drink during an engagement and Art Tatum ran him through the ringer with his technique as punishment. The late George Ziskind got ahold of some unreleased Art Tatum but didn't feel like he could share it, evidently due to an agreement with whoever supplied him the music. He never went into any details about what he had. Of course, that was the same situation for the late Art Tatum discographer Arnold Laubich.

I can listen to Art Tatum in any setting, this will be a treasure. I wonder why the family didn't approach a label sooner rather than risk something happening to these precious tapes? Maybe the club owner died and they were packed away and not immediately discovered.

One of the things that drove me crazy was the amount of incorrect data entered, probably by minimum wage workers at the home office who knew nothing about the music. Writers didn't submit the song lists, composers, musician credits, etc., unless there was a release not in the database that was approved for us to review. I tried to look over them before submitting reviews. When Scott Yanow was editor, he tried to purge as many errors in jazz entries that he could find time to do, but it seemed like a low priority for the powers that were in charge. The fourth and final edition of the All Music Guide to Jazz was a disaster, with many of the errors Scott had corrected reappearing in the book, while the excessive, frequently over the top reviews by Thom Jurek that helped make that volume forgettable. Read his ridiculous review of Keith Jarrett's Koln Concert, one of his most amateurish reviews . Another time I had an artist contact me and ask why my glowing review of his CD was only given 3.5 stars, which wasn't the rating I had assigned. I contacted the editor and was told I gave too many 4 and 4.5 star reviews. My response was I didn't enjoy wasting my time pitching reviews of mediocre and terrible releases, due to the high volume of worthy new releases, plus the back catalog I was pitching. They also had a policy of not allowing 5 stars unless it was a landmark release that had stood the test of time. Once in a while, there is a release that merits five stars. I've lost count of the number of times it has been sold but anyone I was in contact from at Allmusic.com has long since left. At least none of the checks had issues clearing....the money was good for a time until they cut back the assignments to a handful each week.

I doubt that I would have made it through the entire set.

That's one of many reasons I don't subscribe to HBO / Max. I am sick of the whiners who are constantly offended by everything, what we used to call the pc mob. Mel Brooks ought to make a movie about these people, he doesn't believe in sacred cows, everything is a target for his humor.

I contributed as a free lancer to Allmusic.com for fourteen years, but the last few years were pretty sad. It didn't help that the last of us freelancers were dropped near the end of 2012. It seemed like they ignored jazz for the most part after that time, other than the best known artists. I rarely visit the site any more.

It was one of the high points of the Carter administration, along with the performance of Vladimir Horowitz, which was also broadcast live.

Disc 2