JSngry

What I have only recently learned is that the Pershing Lounge was in basement of the Pershing Hotel and was not a particularly large or posh room (talk about image confronting reality!). Before Jaml record there, (as the Pershing), it was known as Birdland, and then changed (for obvious reasons) to Budland, which is where Sun Ra's Arkestra had it's first "major" gig. It's the room where the Ra performance footage in the Cry Of Jazz was shot.

How about the Pershing Lounge in Chicago?

https://jazzmf.com/wiki/villa-rosa-showboat/ not sure about that soprano summit record? and at the previous iteration: https://jazzmf.com/wiki/showboat-lounge/ Which was reissued/re-titled as The Breakfast Show. So you can, recreate the entire evening, maybe. This is how I have it.

Oh, when the LT albums came out and where they talked about Hank not even having a horn, my reaction was to get some money together, buy a horn, and deliver it to him in person. That lasted for a week or so until somebody who had seen him recently told me, uh...probably not a good idea, he's not wanting for anything like that to happen. He was in bad shape, ok, but he was at least alive, and Breakthrough was just a few years old still, so...hope springs eternal, and all that. Kinda was hoping that those LT albums would spur a resurgence of interest (and they did, at least the beginning of one, , but not from Hank himself. Sad, but you know, not everybody wants to "come back"...I see all these ads for testosterone boosters talking about GET BACK IN THE GAME and all that shit and I'm like oh HELL no, I'm trying to get OUT of the game, "back in" the game is the LAST fucking place I want to be, and that's just me, never mind Hank Mobley. He had his reasons, of that I'm sure. Sad and tragic as they probably were, he had his reasons, And it was his decision. Life is ugly just as often as its not.

Minton's had two iterations: https://en.wikipedia.org/wiki/Minton%27s_Playhouse It's open again, so three iterations! https://mintonsharlem.com/ and then there's this one, which I guess is serious?

Grant Green did Minton's alos. As with the Jaws/Griff thing, one night made into more than one record. As far as Basie's, I also know of these: plus one i did not know about until now (with Freddie Waits!):

Also that Mingus footage with John Gilmore, right?

That was when Monk was truly underground.

As did Houston Person.

If The Platters's version made her clutch her pearls, one can only guess what Monk's version made her clutch. Is there such a thing?

How many records/groups were recorded live at Minton's (Jerry Newman doesn't count)? Count Basie's? Small's Paradise? Harlem clubs (as opposed the the Apollo Theatre). Not all that many, right?

There - simple half-step up out of the bridge back to the last A. Always good for a jolt, that tact is. The ii-V just obscure that. Leave the ii out and it's got some kick. OTOH, the way they used diminishd chors, like the C to the C-dim instead of anything else...yuck. For a stage show, sure, But anywhere else, movement in the bass line is generally preferable. I learned this by getting a really old fakebook back in the day, not a "jazz" fake book, one form, liek the 50s or some such, OLD songs, original changes. Usually, it was like OMG, what were they thinking? But not always!

If he was a trained composer of any sort, he would have know of it. And if he was at all a curious guy with a piano, it would have come to him eventually, as it did to you. Now, if you really want to know what he was thinking, you'd need to get the OG lead sheet (or fake book equivalent thereof). Those guys did NOT think of changes in the neat, logical ii-V way that we have smoothed them out to be today.

Living in the sticks, the printed page drove me to be curious about all these records by all these people whose records I (mostly) could not find. In order, by chapter, with record recommndations: Gerry Mulligan Thelonious Monk Art Blakey Miles Davis Sonny Rollins The Modern Jazz Quartet Charles Mingus Paul Desmond Ray Charles John Coltrane Cecil Taylor Ornette Coleman all of these people were alive and still making records when I read this book (repeatedly), so knowing who they were and how they got their, their backstories as they call them now, that really helped. Hell, damn near everybody was still alive then! Louis Armstrong died, like, my first month of high school, but Duke lived until my next-to last day. It was a very....non-static time in which to get into this music.

Yeah, a lot of mystery went away for me when I realized there there were only two whole tone scales and only four augmented triads. After that, it's just a question of inversions. Diminished chords/tetrads, there's only three! The ambiguity is built in, which is no doubt why the composers who discovered this were so fascinated by them and used them to begin to take apart "traditional" diatonic harmony. The question I still have (even though I pretty much know the answers?) is a simple one - what took THEM so long?

Not really the point of any band of this type. The point was to bring it fresh and hot within a set framework. A "show" if you will. The variety, the "different every night" thing would be in the soloing and the spontaneity generated therein. This was not a Plugged Nickle-eque escapade in reinventing everything every night. This was an Next-Gen Hard Bop band plugging in to the cultural zeitgeist of Black Nationalism/Economic Independence (apparently there was some sort of consortium afoot to buy the Lighthouse from Howard Rumsey, and he almost sold!). That's the context for this music, both what's on the records and why it went the way it went.

Different arrangements every night was hardly the point of this band...

"Neophilia" was Maupin's bass clarinet "showcase" at the time.

Try Mayme Watts. & Walter Davis, Jr.? https://books.google.com/books?id=uz8hAQAAIAAJ&pg=PA2289&lpg=PA2289&dq=Mayme+Watts+you+want+me+to+stop+loving+you+w+davis&source=bl&ots=b2HKOFmDeg&sig=ACfU3U0Y9XqKGsh19I-KtkzNylSn0GcmtA&hl=en&sa=X&ved=2ahUKEwiAtKOUwffyAhXZRTABHeZGCUUQ6AF6BAguEAM#v=onepage&q=Mayme%20Watts%20you%20want%20me%20to%20stop%20loving%20you%20w%20davis&f=false Mr & Mrs they were: http://www.45cat.com/record/4g0103 https://books.google.com/books?id=IzkDAAAAMBAJ&pg=PA50&lpg=PA50&dq=mayme+watts+walter+davis&source=bl&ots=sIUmuXL1Wc&sig=ACfU3U3hgiZ2zy2SEpGLg9QP_yizlV7ZJQ&hl=en&sa=X&ved=2ahUKEwjiutSAwvfyAhX0RDABHfmOCDEQ6AF6BAgLEAM#v=onepage&q=mayme%20watts%20walter%20davis&f=false Mayme might have had some bank...

It is kind of weird hearing from all these young people for whom Soul Station has always just been there, always in print, and Hank having always been a Dead Guy . Neither were my young people experience. But this is how it is. OTOH, I will never know what it was like to hear that record when it was brand new either

Mine is a Columbia promo, seems like it might have been one of "those" records, if you know what I mean. A loss-leader/tax write off that nobody tried too hard to get out there. But I could be wrong. IIRC, Chris Albertson had some kind of inside skinny-baseball story about it all, Daily/Carlos/Columbia. But all I can remember is that I think I remeber him having some kind of story.

Has Miss Ann Marie Andres been brought before the international tribunal on war crimes charges yet? If not, is there a Kickstarter going? I don't think I'm buying any records this weekend, so I can sapre a buck or two, just let me know.

Yeah, jazz that respects your space. Fuck that!

It is. I was afraid it was going to be gimmicky because of the whole Carlos connection, but no, not at all. It's those players and they play how they play. Plus - David Lee!!!!