Christiern

Here's a better look at Alberta and Robeson...

Here's another one that was lost: The entire cast of the 1928 London production of Show Boat." On the left you will see Alberta Hunter and Paul Robeson. Cedric Harwicke (not yet knighted) is also in the crowd, as is chorus girl Mabel Mercer. It's a very wide photo, so please excuse the relatively small size of the post.

Louis and trumpeter Homer Hobson stopped in Niagra Falls in 1929 when the band traveled from Chicago to NYC.

In the above photo, that's Bolden on the right. And here's Lil Armstrong two years earlier. I think I posted this before, but that it was among the items lost when Organissimo suffered a pre-emptive attack.

Since there are many interesting jazz-related photos, ads, flyers, etc. hanging on our walls or lying around in cardboard boxes, envelopes, catch-all drawers, photo albums, and books (I have them in all these places), it occurred to me that a thread devoted to sharing such visuals might be interesting. I'll kick the thread off with one from a book--a couple of 1918 sailors: N.O. clarinetist Albert Nicholas and Buddy Bolden's son, Charles.

Not quite! No details were given by Christiern as to whether or not his running around included purchasing x-mas gifts for fellow board members, most importantly of course is catesta. Only 6 shopping days left according to my calendar. Catesta, it may be different in the land of sun and sand, but here in the cold East, gifts purchased with an unclenched behind are generally not worth unwrapping. Be careful what you wish for.

Christiern called Nola, asked DEEP how long the session would last. DEEP informs Christiern that it will go until 4, maybe 5 PM Christiern has a lot of running around to do, says he will try to make it Christiern does not finish his business until about ten to five Christiern decides to take his unclenched derriere home Christiern makes it up to his apartment, braving the crowd of doormen and porters who are milling about the lobby (it's that time of year). End of story?

I agree with Chris about this BUT 98% of these were 78 freaks (now they die daily). The lp guys are (by and large) a different breed. I agree again, the 78 collector is indeed a dying breed. There is also a very big difference, as far as preservation value is concerned, between finding a pressing of Paramount 1862-1 in a 1943 attic and coming across a copy of Megafon MFLP9 in a 2003 junk store bin. Many uncovered 78s either were or came close to being the sole copy extant. Most vinyl pressings of post 40s material (but certainly not all) also exist in tape form. The fragility of 78s also seriously reduced their survivability. Then, too, there is the mystique that surrounded 78 collecting. Each selection had its own matrix number (which collectors sometimes memorized) and there came a time when the medium itself could be romanticized about; LPs haven't quite reached that stage yet. There being no liner notes (except in rare instances when 78 rpm albums were issued, collectors had to listen more carefully to the actual music--imagine that!--and take on the role of a detective. And let us not forget the surface noise, which sometimes became as much a part of the recording as the performance itself. In 1971, when I produced the complete Bessie Smith set of 10 LPs for Columbia, engineer Larry Hiller and I worked very hard to eliminate the surface noise from some of our source discs. We became so good at it that I received a complaint from Nick Perls (Yazoo Records) and his group of blues collectors (the Blues Mafia)--the recordings, Nick said, sounded too clean! I don't think LP collecting will ever be anything like 78 collecting was--there are more collectors, more recordings to collect, and far fewer surprises and rarities.

Blue labels always have a better sound, I think, but silver text tends to rob a performance of presence--what the hell, who listens to the music? Beware of forgeries and stolen stamper numbers--also look out for matrix numbers starting with S7.

Was she possibly selling bad vibes?

Laura B looks like she could use some of that stuff!

I am in total agreement with Chuck here. Record collectors have had a very positive effect on our of jazz history, and we have their zeal to thank for the discovery of much recorded material that might otherwise have been lost. Having said that, I have to admit that they do tend to go overboard when it comes to trivial details, as other collectors also do. Summing it up, however, the pesky aspect of their modi operandi is, IMO, compensated for by their contributions to useful research.

Yes, I took it a couple of days ago.

Apropos Jerry Jazz, he said--blushing somewhat.

Delicious, mellow roasted chestnuts...thanks for that!

With a well prepared 121 hard cover boo, $48 begins to look more reasonable, IMO.

Offer a plastic surgeon $500,000.00

That kind of thievery has been all too common in the music business, and it has been practiced by "respected" people. BTW, Copyright, Patricia.

Here's one more, looking downtown along Central Park West...

The snow came back, Central Park looks great--here's what I saw from my window this morning...

An outrageous price for 2 CDs of material that presumably didn't cost the Bears much money--if anything. They may have spent a good deal of money to obtain clean transfers, but, even so. This sort of thing ought not be encouraged.

Round something, I suppose.

They called Zutty Singleton "Face"--I always assumed it was because he had one. It's the "Deep" that has me puzzled. Well, "Fat Girl" is another one to ponder.

Somewhere else in cyberspace, Doug Ramsey is asking... Who replaced Buddy Rich in Tommy Dorsey's band in October or November of 1942? He has looked high and low, but to no avail. Do you perchance have an answer for him, DEEP?