Swinging Swede

Thanks for the info! Are unofficial Philology releases CD-Rs that one had to order directly? (I think I've read about such releases.) Anyway, it will be interesting to see what more will come out on the RLR label.

The tracks in question are supposed to be from Birdland, February 9, 1962. On several CD releases (including Charly) there is also a fourth track, Body And Soul, which is from a later Birdland date, June 2, 1962, and without Dolphy. It's odd that Fantasy did such a sloppy discographical job for the Live Trane box. Click here for David Wild's reply to the Fantasy spokesperson which makes an interesting read, and also addresses these Birdland (not Hamburg!) recordings.

There has been no shortage of new labels from the Spanish/Andorran Disconforme guys. Among the more recent ones are Lone Hill Jazz and Gambit, on which we have seen releases of material that may have been OOP but always had been available at some other label previously. But there is yet another new label now, RLR, and I wonder if they are finally tapping into the type of unissued recordings that only have been circulating among collectors. The first two RLR releases were of rare Clifford Brown stuff: the last Brown-Roach session a week before Brownie’s death (+ Newport 1955), and the encounter with Eric Dolphy. It may have been rare, but if I understand correctly, it had all been available previously on Philology? (I’m not sure about that, so I’d appreciate clarification from anyone who knows.) But there is a third release now with the Chet Baker Quartet with Dick Twardzik that is purported to be ”previously unissued on any format”! If it is what they claim it is, it is a Cologne concert from October 9, 1955 (12 days before Twardzik’s death) in good sound. A Cologne concert from this tour is not even mentioned in most discographies I’ve checked, but I have seen a couple of references on the net that unissued tapes are known to exist. Here are the details: Personnel: Chet Baker (tp, voc), Dick Twardzik (p), Jimmy Boyd (b) & Peter Littman (d) with guest appearances on two tracks from Hans Koller (ts) & Willi Sanner (bs). Tracks: 1. Announcement by Gigi Campi and Chet Baker 2. Exitus (Phil Urso) 3. Announcement by Chet Baker 4. Tommyhawk (Johnny Mandell) 5. Imagination (J.Burke-J.Van Heusen) 6. Chet Baker presents Dick Twardzick's solo feature 7. Yellow Tango (Dick Twardzick) 8. Someone To Watch Over Me (G. & I. Gershwin) 9. C.T.A. (Jimmy Heath) 10. My Funny Valentine (Rodgers-Hart) 11. Announcement: Campi introduces Hans Keller and Willi Sanner 12. Cool Blues (Charlie Parker) 13. I'll Remember April (De Paul-Johnston-Raye) 14. Exitus (Phil Urso) (Theme) / Closing words by Chet Baker Total Time: 78:38 mins. (info taken from www.jazzmessengers.com) If it is what it is purported to be, is it really previously unissued? And if so, is this the first time the Spanish/Andorran guys have released previously unissued material? And if that is so, what further unissued material could they have access to, and plan to release in the future on this label? Yes, I know that the the Disconforme guys’ practices are questionable, but still, I must say that the prospect of a new label releasing previously unissued recordings of this kind is exciting!

The resurrected Classics label. I will get this one day (have the first volume). They look a bit different now. No "chronogical" among other things!

Swedish news now say 30,000 dead.

I have this CD, and there is no This Can't Be Love on it. Actually, according to the Shirley Scott discography, the only time Scott recorded that tune was with Eddie "Lockjaw" Davis on a 1958 King session. Btw, the AMG reviewer can not have paid too much attention. Keep in mind that the tracks were recorded 1958-61, and then read how his review starts: "A slightly odd, transitional release, 1966's Workin' finds organist Shirley Scott moving away from the small-combo format she worked in (most often with husband Stanley Turrentine) during the early '60s into slightly larger arrangements more in keeping with the mid-'60s trend toward groove-based soul-jazz in which she was the primary, and usually only, soloist."

I'm fairly certain those Three Sounds are the only ones. There are some other JRVGs in the 9501-9600 range that have bonus tracks, but those had all come out previously, either on individual CD reissues or on Mosaics. One exception might be Duke Pearson's "Merry Ole Soul" which has one bonus track. It came out in November 2003, about the same time the Mosaic Select came out, so it's possible that the JRVG by a slight margin was the first release of this track, but it is no longer the only one in any case.

Singers killed the band business. That's why. Still can't forgive them for that.

That was the classic live session at Pep's!

I saw the Count Basie Orchestra live in Gothenburg yesterday. The current tenorists are Doug Miller (who replaced Eric Dixon in 1989) and Doug Lawrence (who replaced Kenny Hing in 2003). Both were fine; Lawrence soloed more frequently than Miller. I must say however that the one who stole the show was guest soloist Gunhild Carling. She joined the band for two numbers at the end, one being the ultrafast Jumpin’ at the Woodside, and she showed incredible technique, great jazz feeling, and had that fat type of tone that you mostly associate with pre-bop trombonists. I had heard her name before from trad/swing contexts, but I had no idea she was this good. The band members were clearly impressed. Check her out if you get the chance. Oh, and Butch Miles at the drums was great to see too. But I’m derailing the thread. Back to talk about tenors!

No, they aren't. As Philips (which controls the CD standard) has stated: "Any changes that put a disc outside the CD standard result in a disc that should no longer be described or marketed as a CD." And they don't either, at least not nowadays. In the early days of copy protection, the discs sometimes had the CD logo, and the record labels pretended that the discs were in accordance with the Red Book standard (of course they knew that they were lying). Philips reacted and forbade this: "...We've made sure they would put a very clear warning that you're not buying a compact disc, but something different. We've been warning some labels to begin with, and they've adjusted their behaviour. That means labels would also be barred from using the familiar "compact disc" logo that has been stamped on every CD since Philips and Sony jointly developed the technology in 1978."

Virginia Woolf was released in December 2004, and Respect in April 2005, so Hiroshi should definitely be able to get them for you. for Hiroshi, btw!

How long are the Jamal and Shaw releases? The reason I ask is that the Cactus format that EMI Europe is using has a shorter playing time (about 74 minutes) than CDs (80 minutes). So in the case of the Lee Morgan "Sonic Boom" Connoisseur, to take an example, they had no choice but to release it as a CD (despite all other titles in the same batch being Cactus discs), since it included two original LP albums, and thus was too long for a Cactus disc. XCP discs must have a shorter playing time than CDs too, so that's my guess as to what explains it.

You're talking about the older MediaMax format, right? I would be surprised if holding down the Shift key works with the new XCP discs.

Yup, I posted an article about this a couple of weeks back: Sony/BMG to introduce copy-protected discs in the US? Note what I highlighted in red: "Among the biggest headaches: Secure burning means that iPod users do not have any means of transferring tracks to their device" and "Sony BMG expects that by year's end a substantial number of its U.S. releases will employ either MediaMax or XCP." I wonder whether European Sony/BMG releases also will be XCP discs, or still CDs. In the latter case U.S. buyers may have to buy from Europe, just as Europeans buy EMI releases from the U.S. Will have to check that. Thanks for the warning anyway. From now on one has to be careful about what Sony/BMG releases to buy too.

past/passed Just saw in another thread that someone had past out, and I've seen this error several times before.

Aric??

Well, here is a link to the discography for the Shearing LP set at least. Did it differ from the CD set? The Complete Capitol Live Recordings of George Shearing (#157)

Really?? This album was on the Ventura/Phillips Mosaic. Is this the first time something has appeared on Mosaic twice?

I just ordered the J.J. Johnson. I got so scared by Soulstation's Morgan cover above!

So some days ago there were 100 copies of the O'Day and 700 copies of the Johnson left, and now there are 150 copies of each left. Okay....

Thanks, jazzbo. After posting I did a Google search and it appears that, although some use "y'all guys" jokingly, there are those that really have it in their ideolect or even dialect. One common case seems to be when people from a "you guys" area move to a "y'all" area. They are influenced by the speech of the new area they live in, but the transition is incomplete and they end up saying "y'all guys". There are several references to this phenomenon. But there are also areas where the locals genuinely say "y'all guys". I found it very interesting to read that in parts of North and South Carolina "y'all" is singular(!), and to indicate plural they have come up with forms like "all y'all", "y'all two" and indeed "y'all guys"! So in those parts "y'all" has moved from purely plural to purely singular just as "you" did earlier. Fascinating, isn't it?

My sister was an exchange student in the US (New Mexico), and the daughter in her family consistently said "y'all guys" as second person plural. Was that just an ideolectal peculiarity, or has anyone heard of this usage before?