Christiern

I know what you mean, it's mostly mumbo gumbo!

I only have that Bolden info second hand, from Wynton.

That may be what's disappointing Ted, MG.

I think he just accidentally sat on one of Manne's drumsticks.

I am a bit confused. Is someone saying that we should simply regard the past as something interesting, perhaps fun, but generally not applicable to the future, creatively speaking? I hope not. I recall one afternoon, when I lived in Philadelphia, Lem Winchester came to my apartment and brought his grandfather with him. He told me how important to him it was to be in touch with people of past generations. "You can see in their eyes the fun they had, the experiences they had," he said (not his exact words, but close) an went on to tell me that he saw it all as a wonderful continuum and that he hoped future generations might see something similar in the eyes of his generation. I asked him if he thought that was a good thing for the music and he said yes! with a big smile, "that's it, you need to learn from the vibes, too" (again, I'm paraphrasing). I remember this particularly well, because this man, who so obviously looked forward to a future of passing the torch, accidentally took his own life within a year of the visit I described. Obviously, music, like all creative efforts is never wholly original, but some people seem to regard past creativity as, perhaps beautiful, but essentially inert. I, of course, very much disagree. Now, have I completely misunderstood what little I have read in this thread?

Look at that hand...I think she turned out to be a drag, so to speak.

It's a wonder that any jazz photos were left after Time-Life was drigged. He obviously got those great "Life Goes To A Party" shots w. Harry Lim, et al. There are some Goodman, Krupa, Hampton shots still there, but they are not a interesting.

I removed it because it was ignored and probably just in the way here. It will reappear, along with other more interesting stuff from that pile, in the "I came across" thread.

There is a reason why tapes are often wound onto and kept on reels heads in. The magnetically stored sound can bleed onto a tape that is up against it. This causes the effect you hear. Had that tape been stored differently (i.e. wound heads in) the bleeding would be less discernible since the main signal would out-volume it, as it were.

A rose is a rose is a rose. Why must we put everything in a labeled box? Didn't all this categorizing start (or, at least, become accepted) on juke boxes? There exist, of course, forms of music that are decidedly "blues", but the term has long been applied far to widely. We think of Bessie Smith as a blues singer, but—like so many of her contemporaries—she sang blues because it was what her audiences wanted to hear. When they turned their ears to other music, Bessie sang other music, which she had always done even when her focus was on blues material. Many people think blues is a sad song, but there are a hell of a lot of joyful and witty blues out there—we have all heard Billie referred to as a blues singer but that's only because so many of her songs had a plaintive quality. Jimmy Rushing sang many songs that, technically, fall into an accepted blues category, but he once told me that he did not like being called a blues singer. Lonnie Johnson became known as a blues singer when he won an Okeh blues contest, but he told me that blues really was not what he preferred to sing; as a matter of fact, he spent much of a long career trying to get away from that label. "Soul" is another label that seems to confuse. I was around when the term first came into use as a musical label. It did not apply to blues (although it covered that idiom, too) but it was any music that was decidedly black. We had soul singers, soul bands, soul food and, eventually, blue-eyed soul. What is "classical" music? There's another term that may have had meaning when first applied, but now is as meaningless as, say, "legendary." Does what we call it really matter?

I made a correction and added a photo to post #409. Since I have your attention. is anyone here familiar with this record or, in fact this label? It features a couple of ok Lucky Thompson solos with a not-so-good trumpet player and a pedestrian big band. The label's owner was obviously Milt Noel (a songwriter?) and the flip side is "You Must Be Out Your Mind" (sic).

This morning I came across some of the 78s I inherited from my good friend and engineer at Columbia, Larry Hiller... ...including a bunch of Jelly Roll Mortons... I also came across a contact sheet from which this blurry photo is extracted. It is of Larry and I with trophies that we spent over two years working every night to earn.

Where shall I start, Aric? I was there for opening night.... ...the first anniversary.... ...and many nights and afternoons in between and beyond... Their invitations were posters Here's my membership card...

I just learned on the blues board that my good friend of many decades, Odetta, is in the hospital, suffering kidney failure. Many years ago, when I was bedridden at home, Odetta surprised me by showing up with a delicious home-cooked meal. I hope I can do something for her now. I bet she would like to hear from anyone who cares.... Odetta Gordon Room # 719, 7th Floor ICU Unit Lenox Hill Hospital 100 East 77th Street New York, NY 10021

The story, so far....

Well, MG, they only select 4 each year and there are many voters, including some of questionable credentials for this sort of thing, IMHO.

I saved this one for last.... Bob Wilber, Pug Wilber, Mary Jo Gitler and Phil Schaap. BTW, how's that for a timely report?

Thank you bb.

Thanks, now I'll blow out my candles and put my voodoo doll on eBay.

It works both ways, MG. I think this "they paid for rehearsals" thing is overplayed, but there is also the sound of surprise, as Whitney called it—there is something oxymoronic about rehearsed jazz. Then, too, the fact that so many of these musicians often shared a bandstand and, indeed, some were working groups, makes the rehearsal aspect less important. Big bands or large groups is another matter. I have not heard any complaints about the many, many recordings made by Columbia, Victor, Decca, etc. without formal rehearsals—paid or otherwise.

That's me in 1961, at the typewriter in the apartment I shared with Timme Rosenkrantz, and that my first published article (Aftenbladet, Monday, January 9, 1956). It was about making the jazz rounds in Manhattan with Timme (whose actual phone number was in the heading, the idea being that it provided me with a "Key to Jazz Land". My wife and I had a great time making those rounds, but the truth is that Timme didn't make it‚he got too drunk!

It's amazing that the husband hasn't left her—or strung her up. Do they make them dumber than this?

Her greed and ignorance earned her that loss—I feel sorry for her husband, not at all for her.

This current Jazz Heritage Society offer could well be all you need. If not, it certainly is a great start and all digitally remastered.

Did your dentist happen to mention that some guy named Schaap had asked him for discarded celebrity teeth?