JSngry

How does the Steve White Nocturne date compare with his Liberty date?

Thanks, maren and rachel. I presheeatechall! LTB's gonna fix Seafood Fra Diavlo, so a happy day is more than 50% guaranteed already!

Was it as good for you as it was for me?

You are one beautiful cat!

From what Sheldon said, he's still in the area. A personal interview, perhaps?

Indeed! But just as Juneteenth has it's roots in slow moving news...

ALASKA?

Finally got to hear this side, and WHOOOOOOOOOOOOOO!!!!!!!! Energy out the wazzoo, and a KILLER rhythm section that grooves more than is good for anybody's heart condition. "Gritty" does not even begin to describe it. The audience is every bit as rowdy as the band, maybe even moreso. Indianapolis musta had some good blow back then is all I can say... HIGHLY recommended to fans of Grant Greens ALIVE! (of which I am one), and of this kind of honest jazz-funk in general. This is about as good as it gets.

If you don't know what this is (and it's a BIG deal in Texas), take a few seconds and educate yourself: http://www.juneteenth.com/history.htm

Do you promise not to tell?

Thanks, Brownie. '57 Perk w/Max, eh? Hmmmmmm..... Was there ever a Japanese reissue?

From Dusty Groove (The BASTARDS!) http://www.dustygroove.com/jazzcd.htm#81626 Pepper Adams & Jimmy Knepper -- Pepper-Knepper Quintet Metrojazz/Fresh Sound (Spain), 1958 Condition: New Copy A gem of a session from both players -- and one of the long-lost sides on the short-lived Metrojazz label from MGM! Adams and Knepper head up a soulful group that features Wynton Kelly on piano (and a bit of organ!), Doug Watkins on bass, and Elvin Jones on drums. The real charm, though, is from Adams' solos, which are in that perfect gutbuckety mode that he could hit when he wanted to -- a deep, dark drink the best tone the bari could offer, never getting clumsy at all, thanks to some lively rhythm playing. It's another one of those amazing sets recorded on a single date in NYC! Titles include "Minor Catastrophe", "Riverside Drive", All Too Soon", "Beaubien, "Primrose Path", and "Adams In The Apple". I'm on a budget right now , so I need to know - is this one truly "great", "pretty damn good", or "other" (please specify). All carefully considered replies will be equally carefully considered. Thank you, and drive friendly!

You, sir, are asking the same questions as me!

More than one, most likely...

March 1957 Conte Candoli - Trumpet Bob Cooper - Tenor (Vocal) Bill Perkins - Tenor (Vocal) Max Roach - Drums Howard Rumsey - Bass, Producer, Liner Notes Frank Rosolino - Trombone Dick Shreve - Piano William Claxton - Cover Photo Ted Keep - Engineer James Robson - Engineer

Keep an eye on www.redtrumpet.com - they have Japanese stuff like this, and the stock seems to be refreshed fairly regulalry. A bit pricey, but service and quality is superb. And they DO have sales - I got the Legge title from them for under $20 during one such sale.

Oh, the side with Crash is even better!

I can answer my own question, it seems... http://allmusic.com/cg/amg.dll?p=amg&uid=U...l=Aamp1z8oa1yv4 AMG REVIEW: Although he had been one of the first jazz singers 30 years earlier, introduced "Singin' In the Rain," and in the late '30s had been the movie voice of Jiminy Cricket in Pinocchio, Cliff Edwards (best known as "Ukelele Ike") was down on his luck by the mid-1950s. His career was temporarily revived for this recording session (which in 1998 was reissued on CD), a surprisingly successful date from 1956. Edwards, still in prime voice despite years of being an alcoholic, is joined by the "Wonderland Jazz Band," a Dixieland group connected with Disney studios and including trumpeter Don Kinch, clarinetist George Probert, pianist Marvin Ash, bassist Jess Bourgeois, drummer Nick Fatool and leader George Bruns on trombone and tuba. Edwards performs a variety of songs from the 1920s, some of which he had helped make famous (including "Singin' In the Rain," "I'll See You In My Dreams," "At Sundown," "Sunday" and "Swingin' Down the Lane"). He sounds fine in the Dixieland setting, even taking a couple of his trademark scat solos. So joyful is the music (other than a couple of brief overly sentimental stretches) that it's sad to note that this historic outing was Ukulele Ike's final recording and last hurrah before he slipped permanently into obscurity. — Scott Yanow

Thanks for all the responses so far. You guys are definitely "The Go-To Bunch"! That Cliff Edwards thing looks to have potential. Any details as to personnel? FWIW, this Schertzer thing is catalog # WDL-3017.

What's all this fuss about X-Rated CD's sounding better? I've got this one and it sounds just like everything else! Love, Emily

A good friend sent me a burn of this Hymie Schertzer side (ALL THE KING'S SAXES) that's a tribute to Benny Goodman. It's a "sax section w/rhythm" type date, and the section (Schertzer, Boomie Richman, Al Kilink, Sid Cooper, & Sol Schlinger) is OUTSTANDING (I'm kind of a "section geek", so don't take this as a ringing endorsement of the album for every jazz fan in the world, if you get my drift, but yeah - they're GREAT!). Plus you got your Don Lamond on drums, and he swings nicely in his own sweet way. A nice side, it is, very nice. Thing is, it was released on DISNEYLAND records! Now, I know that Pops did a Disney side on some label, and I know that Buena Vista was a Disney label (I got a 45 of Annette doing the them form "The Monkey's Uncle" w/The Beach Boys that's on Buena Vista, but that's besides the point), but all I know about Disneyland records per se is that I had a couple of Guy Williams as Zorro 45s on the label when I was a tot. That's it. So now I'm wondering - did Disneyland records release any other jazz records? "Style" of jazz doen't matter to me, just was it in any way, shape, or form, jazz? If the Firehouse Five was on Disneyland, don't bother - them I know about. But any other sessions, or info about A&R, etc., would be welcome. As always, thanks in advance!

Also, both of these guys seemed to be pretty active in the L.A. studio scene of the time, which was a good way to make money and remain basically annoymous. I found Eugene Chadbourne's AMG Bio of Blackburn to be more than a little interesting, so here it is, reprinted and rebroadcast without the permission of AMG or the express written consent of Major League Baseball: With some musicians, their career represents an actual odyssey or travel through musical situations both geographical and aesthetic, and trombonist Lou Blackburn is a perfect example. It is too easy just to dismiss him as another mainstream jazz trombonist gone Afro-pop, when his actual personal voyage, from his native Pittsburgh to the life of an expatriate jazz player in Europe, from mainstream jazz to Mombassa, is an inspiring example of self-realization through trombone solos. Blackburn became passionate about music early in life, using it to help get through both the disciplined lifestyles of college and the army. Getting out of the services in 1956, he began gigging with Charlie Ventura, immediately establishing a connection with the West Coast scene that never went away. Blackburn did more than catch sun rays in California; if a really happening jazz event was taking place, he tended to be more than just on the sidelines. Mingus at Monterey is one classic recording of modern jazz on which Blackburn appears as part of an expanded group of hornmen tackling the difficult and profound "Meditations on Integration" chart, including trumpeters Bobby Bryant and Melvin Moore, Red Callender on tuba, and Buddy Collette on alto sax and flute. Blackburn also cut sessions on his own with Horace Tapscott sitting in the piano chair, the reissue of which has been a great opportunity to study the latter unique musician's evolving style. Blackburn was already a veteran himself when he became involved with Tapscott, and had spent the late '50s honing his trombone chops on tour with Lionel Hampton, a heavily booked group that did long stretches of one-nighters throughout Europe and North Africa. In 1960, Blackburn joined the band of trumpeter Cat Anderson, a trail that led back to the classic big band of Duke Ellington, with whom the trombonist wound up working for eight months of 1961, some of which time was spent toiling in the Columbia recording studios. From here he went to California, where he began working in film studios, also tainting the slide of his trombone with the allure of pop music. Blackburn's credits lurch into another dimension at this stage of the game, perhaps the fifth, with appearances on recordings by the Turtles, the Righteous Brothers, and the Beach Boys, in the latter case admittedly doing naught with his trombone that might distract from the sounds of the theremin on "Good Vibrations." There were also incredibly creative projects, such as the David Amram recording session for the paranoid masterpiece film The Manchurian Candidate, for which the composer assembled a first-rate orchestra from the ranks of symphony soloists, chamber music players, Latin performers; with such jazz artists as reed player and flautist Paul Horn (basically helpless unless he is playing in a monument such as one of the great pyramids), big-toned tenor continent Harold Land, low-end reed guy Jack Nimitz, and Dick Leith joining Blackburn on the trombones. Amram himself startled some of the film's producers by leapfrogging from the podium to the side of the musicians, joining the fray with his own improvised solos on French horn and piano. In the '70s, Blackburn was ready for another change, good vibes or not. He moved to Europe, where he began leading his own groups first out of Berlin, then Switzerland. He formed an ensemble entitled Mombassa, with a very strong African content to its arrangements. The lineup included musicians from several African countries, the influence of African music in the leader's playing more and more apparent in each passing year. He also collaborated with European jazz players such as Wolfgang Köhler in ensembles along the lines of the Lou Blackburn International Quartet, with more of a progressive jazz feel.

Both these guys turn up on this one: Not a bad side, not bad at all...

You might want to, especially at that price!

No, no pun intended.