Niko

it most certainly is very nice - and if all he remembers about this episode is that you were trying to do something nice it might well be what really matters once he is 25 or so... that said, it looks like you are overwhelming him... my father (who knew next to nothing about jazz) decided it was part of my calling when I was 13. he got me a Benny Goodman compilation, a few months later a book about jazz (Behrendt) and a few months later a Duke Ellington compilation - I worked out the rest for myself and i don't think any more nudging would have helped at all. he did sometimes listen with me though (all i remember is he disliked the Earl Coleman tracks in the Charlie Parker Dial Sessions, and he really liked Goodman's Sing Sing Sing and Roland Kirk... in some ways, he was the most typical beginning jazz listener you could imagine)

didn't try spotify but on simfy (which has a similar selection) you can hear the Buster Bennett and Tom Archia sessions as well as most of those Doo-Wop Sessions... copies of the Archia and Bennett Classics CDs are not hard to find (both are fine collections although there isn't much Willie Jones in either), and then there's of course the Clark Terry album without Gonsalves from a few days earlier: http://www.amazon.co.uk/gp/offer-listing/B000024AA9/ref=dp_olp_used?ie=UTF8&condition=used (twofer with both)

those precious four days when you're younger than me are over once more ;-) happy birthday!

thank you all!

i like most of what i've heard, Stockholm Dues, Notes from Underground, Lars Werner's Bombastica (there's a great Dragon CD with iirc additional material), the recordings with Komeda... a great album/collections of tapes that's easy to miss is trumpeter Lalle Svensson's I Should Care which has a group led by Rosengren on all tracks except the first one, this should also be available on spotify...

also got the freshsound cd... tell vinnie he's not forgotten, fine album ;-) not that i've known him long compared to his age

"But if forced to select my one favorite on Blue Note, it would be Kenny Dorham. " same here

Horace Tapscott = Herbie Nichols?

here's more evidence of Baltimore trumpet player John Burks

we are talking about "Let me tell you 'bout it", actually, and afaik (might be wrong) it's John Burks there, which is right in the middle between Birks and Burkes - so if all those guys I haven't heard of come from Baltimore, and if there apparently is a Baltimore trumpet player named Burkes who even played with Bill Swindell, that makes me tend to think it's Baltimore John Burkes/Burks on the Leo Parker record (plus: that Left Bank Listing has many small typos) (btw wikipedia is wrong here and attributes both Parker BN albums to Dave Burns)

Actually though I sometimes think it is, the consensus here is that it is not (though this is in discussion of "John Birks" on "Let Me Tell You About It"). haven't looked into the booklets recently so it might well be in there, too, but going through the Left Bank Performance Listings http://home.earthlink.net/~eskelin/leftbank.html I got the impression that most of the lesser known names on the Leo Parker BNs are local players from Baltimore, Bill Swindell, Purnell Rice, John Burkes, Yusef Salim all pop up there...

Happy Birthday, Allen!

@freelancer: some clues on live gigs can be found in the listings of Left Bank Concerts: http://home.earthlink.net/~eskelin/leftbank.html e.g. McCOY TYNER, piano; JOE HENDERSON, tenor sax; JACK DEJOHNETTE, drums; HERBERT LEWIS, bass HANK MOBLEY, tenor sax; McCOY TYNER, piano; JACK DEJOHNETTE, drums; EDDIE MARSHALL, bass GRANT GREENE, guitar; HAROLD VICK, tenor sax; JOHN PATTON, organ; HUGH WALKER, drums

would like to say Teo Macero was older than Frankenstein, but it wouldn't be true

a compilation from a festival with one band featuring Chris McGregor, one featuring Dudu Pukwana (and Nick Mokaye), one featuring Kippie Moeketsi, one featuring Louis Moholo, one featuring Mongezi Feza... looks like an "important catalyst" http://www.flatinternational.org/template_volume.php?volume_id=119

RIP

was in a rush when i posted that link above, note that there are two interviews, one in the main post and another in the comments...

Walt Dickerson said: "Excellent pianist! Last I heard, Austin was in New York, playing classical music. Again, the scene, as it was then…Austin came from a very religious background also, so the scene did a lot to drive many great musicians away. He had a couple of things with Philly Joe Jones, and he came back and told me, "Never again, never again.” He was stranded in the Midwest, played two weeks of engagement and no way to get home. Some people can’t take those kinds of experiences, so I heard he was playing classical piano. I understood. He would say, "Any time you call me, I’ll be there.” As a matter of fact, years later, when he heard Shades Of Love, he told me, "I remember, Walt, how you used to turn your instrument in reverse and practice for hours.” It’s a challenge, something different. Yes, Austin, a wonderful pianist, a wonderful person…" from here: http://darkforcesswing.blogspot.de/2007/06/in-full-1-walt-dickerson.html

played the stream three times in a row, thanks for the heads-up, love it! edit to add: it's already available at amazon as a download http://www.amazon.com/Nuestro-Camino/dp/B00B5O6496

i really don't want to interrupt this discussion, but looking through Wild's additions I found this item, http://www.wildmusic-jazz.com/jcr_1965.htm in particular the quote "Over the years, in liners, books and lists, Don Garrett has been attributed with playing bass clarinet. This is wrong. The man only played bass and clarinet (the small and straight horn, that is). [...]" and the request to delete bcl after Donald Garrett for Live in Seattle... So I'm wondering: Who is playing bass clarinet on the first track of Kulu Se Mama (sounds very very much like a bass clarinet to me...)? [ie why is there no request to make a correction there, too]

Born and raised in Cincinnati, Ohio, Christopher Lowell Clarke began playing trumpet in elementary school, and attended The College Conservatory of Music at the University of Cincinnati on a jazz scholarship. Majoring in jazz and studio music Clarke played with guest artists Joe Henderson, Joe Lovano, Bobby Shew, and Byron Stripling. Four years with Carnival Cruise Lines orchestras followed, before Chris relocated to the Bay Area. He has performed at the Monterey, Umbria, Stanford, Mt Hood, and Fillmore Street jazz festivals, and toured Italy with the Johnny Nocturne Band. Since his move to San Francisco, Clarke has shared the stage with George Coleman, Sonny Simmons, and Bishop Norman Williams, and recorded with Dewayne Oakley. http://www.chezhanny.com/eddie_marshall.html

his record label spells his name without the final "e" most of the time, here's one more video and here is the label's page for The Swooper (including a stream of the album but no text...)

And I'm sure Kenny Burrell is sitting on his couch - with his feet up - having his warm milk in his cup marked 'world's greatest Soul Jazz grandpa' - and reading this thread...thinking....geez I wish I spent another day on the head arrangement of 'that one'! honestly, i have no trouble at all imagining that KB did try to capture Oliver Nelson's arrangement but didn't have the time - one genius against another, that sgcim's guitar arrangement which - as he said - did take him some time comes closer to ON's intentions - doesn't take a genius for this, just a journeyman with time on his hands. and that KB would agree upon hearing sgcim's version of the tune that this was closer to his intentions than what he himself had worked out on the spot decades ago (even though we can't hear/feel the difference). This has nothing at all to do with diminishing KB as a guitarist or claiming that sgcim is "better". And yes, its "only" about technique, but then so much of our most beloved jazz is, and its part of the art not to let us hear it all the time. It's part of appreciating how much "technique" is actually behind the work of someone like KB to acknowledge that there are thousands of places where someone with the determination and a "normal" above average talent can actually surpass him at what he is trying to achieve. learned this quote today: "Any sufficiently advanced technology is indistinguishable from magic."

the one jazz blog I'm checking almost daily (nothing new, mostly, but when there is...) is http://crownpropeller.wordpress.com/

Thank you! have you seen the Don Joseph clips on youtube? sounds like you might know a bunch of people in there... (also the other uploads by that guy)