JSngry

I thought that Litweiler's book was just fine.

Yes, and he does. I'd forgotten that Denardo was on that one. for some reason, I was thinking it was Blackwell. The memory's going fast...

Albam was definitely a skilled writer, thiough. He could write for any situation, and in any style. Hard for me (impossible, actually) not to have professional respect for somebody who can do that. Case in point - he did a Dakota Staton album on Groove Merchant (and Album seemed to have been a favorite of Sonny Lester in the Solid State/early Groove Merchant days) where a lot of the writing is a dead ringer for vintage Thad Jones. So what he might have lacked in distinctiveness, he had in pure skill. Like I said, I can't say anything bad about that, not from a professional standpoint.

Back in my teens, I came across an Album album on Decca in the cutout bins that I bought and enjoyed for a few years before finally trrading it for something. It was an album of music from West Side Story. Not bad, by any means, but after a while... OTOH, that same day, I also found another Decca album - George Russell's NEW YORK, N.Y. I still have that one.

Well. "Moody's Mood" was a big enough of a hit that it still retains some subliminal/residual crossover appeal, believe it or not. I've done lounge gigs where it gets requested. And R&B gigs. And wedding gigs. Etc.

Not yet arrived.

Exactly.

The Bill Barron is a nice addition.

I like this album quite a bit. The kid wasa kid at the time, and plays like one, which was sort of the point. But it's ok - Ornette & Charlie don't seem to be bugged by him at all and play just fine. Others disagree, often strongly. And BTW - the kid turned out to be a pretty damn good drummer once he grew up.

First LP issue was on Barnaby/Candid, early 1970s, as far as I know.

One thing I don't do is quote Lorenz Hart at any length...

Quite antiquietist indeed! (say THAT 10 times in a row as fast as you can!)

TIBBLES!

quietist vinyl? From that site: So, in terms of ECM, yeah!

http://www.jinfo.org/Conductors.html

"And The Angels Sing," also known as "Freylekh In Swing," is an adaption of "Der Shtiller Bulgar." I appreciate that info, and found HERE that

You can have it either way - there's an "extended version" of the movie on the main DVD (although there's a slight - 1-2 seconds - pause while the deleted scenes load on my admittedly not state-of-the-art DVD player), or you can view them seperately on the "bonus" DVD. BTW - the bonus DVD also has two uncut music perfmance scenes. In either version of the movie, they're not presented in this fashion.

Either that, or the bar for being one of the "discerning music buyers who know their music" just got a lot lower...

And what's with this "40s" stuff? Fact is- "Moody's Mood" was a HUGE hit, and "Red Top" proved pretty popular as well. And he didn't record at all until 1952, for Prestige. The Alladin date was later. Read all about it here: http://home.earthlink.net/~v1tiger/kpleasure.html

Well, that's just it - I found the grooves to be formulaic rather than organic, and as such was really turned off. Sounded more like ""jazz muzak" than jazz. But like I said, maybe I wasn't in the proper frame of mind.

Chuck - were the early, crappy ones done exclusively when ECM wss distributed in the US by Polydor? I know that the first few America/Polydor ECMs were indeed so crappy that I got put off of buying anymore for a good long while. Let me rephrase the question - were all Polydor ECM pressing of the crappy variety? Don't know that I ever got a good one. When the distribution switche to WB, however, the quality improved dramatically. But still - those German pressings were the quietist vinyl I think I've ever owned.

There's that whole "New York Tenor" school - Liebman, Grossman, Brecker, Berg, Mintzer. This in a parallell to the whole "Brothers" school of Lester Young disciples of a few years earlier. In fact, I once drew a cartoon of Prez greeting Trane at the Pearly Gates, extending his hand and saying, "You too?". Nobody I showed it to got the joke... Historically, the biggest non-African-American contributions to jazz have come from Jewish-Americans & Italiain-Americans. Why that is probably as much sociological as musicological, but Dan Morgenstern, in the notes to a Sonny Berman Onyx LP entitled, iirc, SOME BEAUTIFUL JEWISH MUSIC, went into a bit of commentary about the similarity between the melismatic, "wailing" quality of certain cantorial (NOT Eddie! ) traditions and jazz. Pretty interesting stuff. And speaking of Ziggy Ellman, is it "common knowledge" that his classic solo bit on Goodman's "And The Angels Sing" was based on a traditional Jewish dance/rhythm? Sorry, I don't remember exactly which, but it was called a fralich or something like that. Again, sorry I don't know the exact name. I'd be more than glad to be enlightened, however. Whatever, it was an early (and overt) use of what I guess could be called "Klezmer" elements in a "mainstream" setting.

Any thoughts on the two Tuba (label) albums? I heard them once (there's a new 2-on1 CD issue), and either I wasn't in the proper frame of mind or else they're just incredibly bland. I DO like the Riverside/etc. stuff, btw.

King Pleasure sure got played a lot for somebody people didn't dig...

Ted's son is/was also named Earl. A drummer iirc. Met him when he was a student (just for a semester or two) at NTSU ca. 1975.