king ubu

Don't have the BN one, but had the Verve one given to me for x-mas and while it's certainly not a thrilling read or anything, I find it quite interesting, regarding the entire story of JATP, Clef, Norgran etc. The Granz book might be a better read, who knows, but the photos and stuff in the Verve book is pretty amazing, too - and different from BN, there were so many Verve covers around (so much stuff got re-packaged and re-compiled) that I really feel like I don't even know half of 'em. "I want to fight against racism, to give listeners a good product, and to earn money from good music." Fair enough, I'd think. I have both (though I am only partially through the books by now), and I think they complement each other well. I agree that the Verve coffee-table book is not the best read in the world but it is quite OK anyway IMO. I have seen others that were written much more badly yet had much higher pretenses. The capsule bios in the Verve book are quite OK for the primary target audience, and the illustrations (and their layout) and sheer amount of data are stimulating enough, though I would have appreciated a bit more detail on the often-overlooked artists (who also were part of the Verve LABLE history) outside the trodden paths of the biggies but then I suppose you could not have marketed that book that easily to the more casual listeners who have a handful of Ella and Oscar records and now want to get something to look at while listening ... As for the Granz bio, I agree about the fair enough "making money from a good cause" angle, and in the way he acted on numerous occasions Granz certainly proved that he did stand up for the rights of the artists he worked with. Remember the times most of this took place in. Like or face it or not, but from today's state of society a lot of this was the "dark age" and those who did not live through those times sometimes are a bit rash in faulting people like Granz for not going farther than they did or for not being more radical in their actions. And I have a feeling any bio of Granz by necessity falls short on what it could have accomplished simply due to the fact that Normal Granz went out of his way to destroy documents and evidence from his life and his business so a lot that would have been of immense interested for the evaluation by historians just isn't there anymore. What I don't like about the Verve coffee-table book, though, is that tendency (by THIS author??) to milk over and over again those William Gottlieb photo files at the LOC. The Gottlieb pictures ARE geat but as they have been used before in many cases and are publicly accessible on the LOC site they must be pretty well-known to anyone seriously interested in the music from that era by now, and besides, how many devades of jazz can you illustrate with photos from 1947 exclusively?? IMO this way of rounding up pictures from the same source over and over again is an wasy way out for the author and editor to save them the effort of doing some real searching for views from that era not seen too often before (which no doubt MUST be out there ...). Fair point re: Gottlieb's photos - indeed the fat booklet for the forties JATP box contained plenty of Time/Life photos by Gjon Mili that don't seem to be as widely known and while you can watch some of them on the internets, they're not part of the LOC's collection and come with watermarks and stuff like that ... And those photos are as wonderful and atmospheric, I'd say, as the ones Gottlieb took. Some examples here (not JATP ones but ones taken at Mili's studio): http://time.com/3689431/giants-at-play-life-with-jazz-legends/

Don't have the BN one, but had the Verve one given to me for x-mas and while it's certainly not a thrilling read or anything, I find it quite interesting, regarding the entire story of JATP, Clef, Norgran etc. The Granz book might be a better read, who knows, but the photos and stuff in the Verve book is pretty amazing, too - and different from BN, there were so many Verve covers around (so much stuff got re-packaged and re-compiled) that I really feel like I don't even know half of 'em. "I want to fight against racism, to give listeners a good product, and to earn money from good music." Fair enough, I'd think.

(maybe some moderator could amend the thread title, since this has by now turned into a recommendations discussion equally?)

http://www.amazon.com/Music-Crossroads-Legacies-Baltimore-Aperio/dp/1934074527/ http://articles.baltimoresun.com/2010-08-07/entertainment/bs-ae-jazz-loyola-20100807_1_baltimore-jazz-apprentice-house-loyola-students

Pres: Buchmann-Moller?

Seen her live a few times, in different settings - and indeed, the trio with Hébert/Smith was the one I enjoyed most. Alas, she doesn't seem to travel with her regular gear (instead using smaller, probably less valuable/dear-to-her guitars). But nonetheless, I'd strongly suggest to check her out in concert!

some bread: funky bread, that is

if you don`t know this, Mal Waldron "Free At Last" from the 2014 batch is a IMO a "must have".... Huh? It's listed as pre-order (April 2015) on CDJapan? Guess I'll have to get that one to finally have a real copy of that great album!

A grand ol' anglo-saxon academic tradition, that ... and one that could indeed be stopped with little loss (except for U presses earning the sh*t ouf ot those books that every library all over the world has to buy). That doesn't include my book. Every year Yale U. Press tells me that I'm still in the hole to them for my modest advance against royalties. No problem, though -- I never expected to make a penny from it in the first place, just wanted to get the stuff out there. Ha, surely didn't mean to include you! Was more thinking of the likes of Huntington and Fukuyama and their articles that got blown up into books not adding much to the initial 30 page essays ... I'm indeed not aware of the same syndrome being as bad over here. But then we don't have these high-end upresses anyways, different system. Seems your book is on low stock though ... guess I gotta pull a carpe diem on it rather sooner than later!

Here's an old topic with recommendations on jazz books that could be bumped: But I guess most of the interesting discussions emerged in other threads ...

A grand ol' anglo-saxon academic tradition, that ... and one that could indeed be stopped with little loss (except for U presses earning the sh*t ouf ot those books that every library all over the world has to buy).

Yes, it's one of his best (though I think at gun point, I might go for "Intensity"). Regarding the story Laure tells about how she acquired the master - did this end up with Charlie Parker Records as well? They released the Paich Quartet w/Pepper as "Chile Pepper", prob. 1961/62ish, which was quite a few years before Laurie bought it, and she mentions being offered the entire CPR catalogue. Who would have been the owner of that back then? And who bought it just after she had to decline? All I know is that cheapo box set which was discussed in some depth here: ... and looking up contents there, I see half of "Art Pepper Quartet" was indeed on a CPR album titled "Pepper Manne". And looking further, in Marcello says that: anyway, this is all a bit off topic here, but after all it was Laurie's mail and comment that triggered it

"Sittin' In" is a good one indeed! Will have to re-visit "Great Reunion"/"Big Challenge" soon, not that familiar with these yet. Hawk's relation with Pres was quite complex, too, I guess - seems at one of the European JATP tours in the fifties, when Pres more or less had stopped eating (same thing Hawkins would do, ten years later), it was Hawkins who tried to look after him.

Ah well, Hawkins said a lot of things ... seems he put down Chu Berry as well, but after he was gone, he was finally able to confess that he actually did like his playing quite some. Not sure where I read this bit about Hawkins/Freeman though (and even if I found it, as with so many things about jazz, that would still not be an actual source, so ignore if you prefer).

Recently read somewhere that it was Hawk who insisted on the presence of Bud Freeman since he loved his playing so much?

re: pads - is it all leather with saxophones? fish skin only on clarinets? (I got them all at home but I usually don't screw around on 'em myself ... once took my tenor halfway apart and it wasn't easy getting everything in place again, with my two left hands )

And he played at the same time?

Merci, monsieur! Je vais donc l'acheter!

http://www.jazzdisco.org/teddy-edwards/catalog/ eddy Edwards Quartet - Good Gravy (Timeless (Du) SJP 139) Teddy Edwards (tenor saxophone) Rein De Graaff (piano) Henk Haverhoek (bass) John Engels (drums) "Bimhuis", Amsterdam, Netherlands, December 26, 1981 Lady Be Good Oleo Georgia Good Gravy Good stuff, perhaps not essential, but oh well. Oh, thanks - don't think I'd ever heard of this before - guess it goes on the shopping list, there's not nearly enough Edwards out there ... I love that man!

the "Trésors" set being discussed here would be this: right?

pretty entertaining stuff - there's a previous thread with some discussion here:

Shirley Horn indeed! And Roland Kirk, too! but Keith is

some of the Timeless ones were part of their "black" remasters series (Cohn, Baker, Flanagan ... there were others not on the list, such as that fine George Coleman album). The Cobb is indeed the one that does look tempting! What's the Edwards? The Contemporary album? Or was there another one using that title? Only got the Griffin recently, haven't played it often yet, but I guess it's not amongst his best, yet as Mr. Sangrey said, definitely not one to categorically avoid (and surely not if you love Griff half as much as I do).

Thx Moms, no time for a real reply ... but the Tebaldi box is on my shelves.

DHM 50 for 39: http://www.amazon.it/Deutsche-Harmonia-Mundi-50-Collection/dp/B00NX4NMGO/ Monteux for 55: http://www.amazon.it/Monteux-The-Complete-Album-Collection/dp/B00MAPMAFQ/ Ansermet Russian for 37: http://www.amazon.it/Russian-Music-Ernest-Ansermet/dp/B00J498SOI/ Ansermet French for 36: http://www.amazon.it/French-Music-Ernest-Ansermet/dp/B00DT2322E/ Gould Bach for 44: http://www.amazon.it/Glenn-Gould-Bach-Edition/dp/B0086WQNZ0/ Ansermet European isn't reduced. Lenny DG Vol. 1 has been adjusted, too, it was in the 50-60 range this morning, european time. I went for the Oiseau-Lyre Baroque one, had been eying it for a long time.