Christiern

According to Moms Mabley (and others), that's not all Willie Bryant was known for. Cigar? Try baseball bat! At least that's how Moms described it.

A cloud of animosity has separated George and Phil ever since the latter started distorting facts in connection with some of the former's work (Ellington at Newport being a particularly glaring example). Phil will never achieve the accomplishments of George. and I think that is a chink in his rather thick ego. Clearly, Phil sending someone over to ask George to leave the memorial service of a long-standing friend and colleague was a vindictive move. It is in keeping with Phil's character flaws, as I have observed them. I also think it showed disrespect for the memory of his adoptive father. That's how I see it, but if there can be justification for this, please enlighten me.

I never got to know Walter Schaap, but those who did have told me that he was a nice, gentle man with a true love for jazz. They had a service for him at St. Peter's in NY. Sadly, his adopted son, Phil, tried to have George Avakian (who knew Walter S. for about 50 years) removed from it. George, to his credit, refused to leave. RIP Walter Schaap.

I just listened to the first program in the series. Orrin was predictably into himself, but it was an interesting listen. I did rather like the way he squirmed out of the re-issuing of Rollins' "Freedom Suite." He said that it was not uncommon to take an album and reissue it in a modified version. That's a lot of BS, the Rollins set was done for no other reason than to get rid of the controversial "box" statement. It's really too bad that Bill Grauer becomes little more than a footnote to Orrin's tales--he deserves far more credit. As for Monk and Orrin, a forthcoming book (not Peter Keepnews') will set that relationship straight.

Sorta been there, done that, but I had the opposite situation: DVD+R discs and a DVD-R recorder. The spitting was the same, so I bought a double-layer DVD+R recorder (LaCie with LightScribe) and installed it as a second internal on my Mac. My new burner (the +) handles both kinds of disc, but older Mac drives only accept a "-" disc. BTW, the LightScribe burns beautiful labels on the disc's reverse side, but it does require special discs--not expensive.

Dear Conrad, I wish I knew enough to be of help--one feels so useless when things like this happen. I have not had to endure quite the emotional trauma and frustration you are undergoing, but I have come close. As you know, I am not one to pray, so the best I can do is to have your family on my mind, think positive thoughts, and wish for the best--I will do that. How petty our differences seem when real life intrudes. Chris

Having observed first-hand Miles and Teo at work, I don't see how it could be possible to "restore" that Columbia material. There were usually no complete performances. just fragments assemble by Teo. When I saw the stack of tapes Teo had to work with, I used to wonder how he actually got an album out of it. In 1971, when I interviewed Teo in connection with a Saturday Review story on Miles, he confirmed that there were no numbered "takes," explaining that "there's something new that pops into the music every time, whether it's deliberate or just by accident, no one seems to know quite for sure. The group is constantly building toward a final goal, and we don't stop the tape machines like we used to do in the old days--they run until the group stops playing. Then we go back, listen, and decide between us what should be tacked to what--it becomes a search-and-find routine, and finally it's all there, it's just a matter of putting it all together." There was nothing to restore, the best one could do would be to issue the unassembled bits and pieces and, for good reason, that has not been done.

I thought Burton came out!

As log as it isn't my hometown, New York, I really don't care where they hold it, but Madrid looks good on television, so I cast my choice accordingly.

I come here mainly because Organissimo offers me refuge from lengthy, in-depth discussions of such groups as Percival Mackey's Ever-Bright Boys. Of course, another attraction is the total absence of any speculation as to what Elnora Johnson scratched into the finish of Benton Overstreet's upright in June of 1927. Finally, I just appreciate authoritatively arranged pixels.

Will the political forum remain pink? Is there a message in that?

I heard this weak, pitiful voice cry "I've peen pushed and I can't get up." When I saw the old lady, I knew immediately that Randy had done it again, but not until now have I told anyone about it. BTW, the lady in question is doing fine. A modest lottery win enabled her to purchase a pair of adjustable crutches, a seeing-eye dog (she named it Twizzle), a trained household monkey aide, and new front teeth. She holds no grudge against Randy, and gone are the days when she regretted no longer having feet with which to trip him.

Stanley was and remains whatever he thinks might bring him the most attention.

and ten more ... Since they are my sessions, I hope they will give me a discount. If so, I'll also buy the reissues I produced and the albums I wrote liner notes for. It adds up, believe me. BTW, it was encouraging to see some of my work among the selected ones earlier in this thread.

and here's another ten...

I guess I'll go broke buying replacement copies of Riverside/Prestige sessions I produced. All my CD copes were stolen from me. Here's ten of them.

Isn't Phil Schaap working on one?

Here's what's shipping now (05/27/05 Orson Welles The Mercury Theater Presents: “The 39 Steps” & “Sherlock Holmes” Here are two radio plays – “The 39 Steps” and “Sherlock Holmes” - based on the writings of John Buchan and Arthur Conan Doyle, respectively, with the leading role in each play performed/spoken by Orson Welles in the CBS studios in New York in 1938. Orson Welles’ and the Mercury Theater’s production of “The 39 Steps” emphasize the closed-in, claustrophobic and almost Kafkaesque nature of the novel’s plot: a solitary individual caught up in a German spying ring that he must learn to deal with along the way in order to expose it. While the plot of the radio play version of “Sherlock Holmes” is original, it is loosely built on the plots of several of Doyle’s well-known short stories and is based on the actor William Gillette’s stage version of Doyle’s famous writings. Orson Welles obviously enjoyed being the voice of Richard Hannay in “The 39 Steps” - the invention of Scottish author John Buchan - a character with masculine ideals from a feudal, romantic world of bygone days where men were men, and also the prototype of another famous Scotsman – James Bond. As Orson Welles points out in his introduction of “Sherlock Holmes”, the radio performance relies more on atmosphere than excitement. We’re in foggy London Town with Big Ben’s tower thrusting towards the clouds while its famous bells toll the hour throughout the British Empire, all making for a very forceful, gripping tale. Orson Welles is one of the great masters of the spoken word – the proof is on this CD. LABEL: Nostalgia Arts CATALOG NUMBER: 303 3503 *********************************************************************** Duke Ellington The Piano Player Duke Ellington – piano, Wild Bill Davis – organ, Joe Benjamin – bass, Rufus Jones- drums Meditation / Single Petal Of A Rose / Blues – take 1 / Nagoya / Unknown - Little African Flower / Meditation / T.G.T.T. - Little Purple Flower / THE RIVER – A Ballet Suite: The Spring - The Run - The Meander – Grap - The Lake – Stud / Riddle / Blues – take 2 / Blues – take 3 Anytime new material is released with Duke Ellington is a major musical event; the fact that this CD consists mostly of solo numbers makes this CD release extra special because there are practically no recordings of Ellington playing solo piano. None of the music on this CD (16 tunes - 67 minutes) has been previously released on LP or CD. The CD was recorded during eight different sessions in New York, Paris and Tokyo between 1961 and 1971, and includes 13 piano solo numbers by Duke Ellington plus three tunes with organ, bass & drums accompaniment. The tunes are all Duke Ellington originals, most of which had never previously been recorded. The absolute high point on the CD is Ellington’s “River Ballad Suite”, composed for a ballet production by Alvin Ailey. As one can hear on this CD, besides being the most important big band leader of all time, Ellington was also a true stylist and exciting originator on the piano. Storyville Records CATALOG NUMBER: 101 8399 ************************************************************************ Sir Roland Hanna Solo Piano Roland Hanna – solo piano Where Or When / I Got It Bad / Stompin' At The Savoy / Perugia / Prelude To A Kiss / Emaline / Don't Blame Me / Anoné / Indiana / Bye Bye Blackbird / Willow Weep For Me / Isn't It A Pity / All The Things You Are The 70 minutes (13 tunes) on this solo piano CD were recorded in 1974 at a private session in France. The repertoire consists of 8 standards – including “Where or When”, “Stompin’ at the Savoy” and “Indiana” - plus two original compositions – “Perugia” and “Anoné”. Originally released on LP on the small Hi-Fly label, the CD contains three extra numbers. This CD is a beautiful study of the essence of jazz: improvisation. Just listen how Roland Hanna builds on the themes of standards like “I Got it Bad and that Ain’t Good” and “Don’t Blame Me” Roland Hanna’s style combines bursting energy and contemplation, rhythmic precision and discretion. LABEL: Storyville Records CATALOG NUMBER: 101 8388

J.A.W. has the right answer, but you must send the entire message to spoof@ebay.com, that means the header has to be there. On a Mac, you bring up the email in question and click on "Long Header"--then forward it to the spoof address. Without the full header, the abuse departments cannot trace the source and take action.

You are right, George eventually moved Storyville to Copley Square, but he started it at the Buckminster. I believe there was also a third location before he closed the doors for good.

On the corner, in the same building that houses the Buckminster, you will find Pizzeria Uno. Genuflect as you pass it by, because Bird and others broadcast from there when it was the George Wein's Storyville. BTW, I used to stay at the Buckminster when I made annual trips to Boston's MacWorld Expo. Nice little hotel.

I agree, and found that mention in the blurb to be interesting, but it is now expedient to claim credit and embrace the militancy he once shunned. Note also: "...legendary record producer and label owner Orrin Keepnews." When I worked at Riverside (before Orrin became legendary), he was like an also-ran to Bill Grauer. Now, there was a pleasant, witty person for whom it was a joy to work. Should be an interesting series--if nothing else, the music will be good.

I bet Orrin gives Bill Grauer short shrift, if he mentions him at all. I also wonder if he gives Randy Weston credit for bringing Monk to the label.

This is yet another photo of the historic building that graces my street and lies one block north of me. This is a shot I took 2 weeks ago on Duke Ellington Boulevard. I like the dramatic effect generated by the 1884 structure against a threatening sky and a darkened Central Park.

When I saw Carmen McRae walk out of the screening room about ten minutes into "Lady Sings the Blues," I really wanted to do likewise. Unfortunately, I was there in the capacity of reviewer, so I had to stick it out to the bitter end--a painful experience. There are many movies I would have walked out on, but I did the wise thing and skipped them. I have often taken off my earphones on in-flight movies--does that count?