Niko

if i were you i would google one of the sidemen after the other, some of them might still be around, have webpages (and email), and have been waiting for your inquiry more eagerly than bb king... al porcino got a webpage, to start with, but it doesn't look like he's maintaining it himself...

will check out christophe schweizer... just gave a brief listen to some of nils wogram's organ trio album affinity on deezer, needs to be checked out as well... ferris is one of the selected few who have a eugene chadbourne allmusic entry... long list of credits from frank zappa to philly joe jones...

Glenn Ferris - finally a trombone player who sounds just right ( ) so far heard him on Henri Texier's great "An Indian's Week" album and Bex/Ferris/Goubert - Here and Now (organ trio with trombone) but will check out more soon...

just to clarify: one disc of the select is bonus tracks not available elsewhere; that said, i have some of tolliver's other albums and i believe i understand what you mean by "musically limited"... the two selects i really want to get eventually are the tolliver and the first hill, at this point...

i used to know... a few years ago when i considered rebuying the book i had a look at the new edition and while i did like some of the changes (more on louis sclavis is all i remember) i decided to seek out the 1989 edition again (which definitely has more fusion in it than most jazz books i've seen, even mentioned kenny g's early work... don't know if earlier editions had even more); i'm 98% sure they (or actually: he, guenter huesmann who had written the 80s portion or so of the 1989 edition is now the sole author; nothing wrong with him but he's not as open to fusion as berendt, i believe) did alter the perspective in the way you mention... the book definitely doesn't tell you that the most relevant part of jazz history ended in 1968 or so like so many others (and i guess, that perspective was easier to maintain in 1989 than today... not so sure which view i have on jazz after 1968 - but it definitely helps in writing a fair and balanced account to take the seventies and eighties serious...)

ah, thank you!

Still have my copy from 1977 that I used to guide my early steps into jazz. I owe it a great deal. same here, lost my copy a few years ago but still know a lot of it by heart... thanks allen, will check out that site...

don't want to complain again that the getz thread was deleted, it's not like i didn't understand some of that... but if larry kart says he heard something from a source he considers reliable i don't consider that "rumor mongering or hearsay"...

actually, i'm pretty sure by now, that he (?) answered and deleted his answer (only evidence i have though is that it doesn't make much sense that a relatively easy discographical inquiry would have stayed unanswered for so long...)

if it's not outside your time frame, there's also groove holmes first pacific jazz album

another solution would be to make the nonpolitical part of the board invisible to posters who desire to have a political avatar - guess that might be the best solution in some cases such as berigan's (doesn't solve the issue of existing posts, but still...)

unfortunately, heinz baumeister's webster discography isn't online anymore, but maybe an email is worth a try... heinz.baumeister@kolumbus.fi

glad you like it! a tiny bit more about stella waitzkin and tony fruscella is in this book, didn't check exactly between this and the last marlin, but upon first sight there's not much additional information in there but some pictures of her art (it does say though that some of her glass pieces were molten from fruscella's liquor bottles) http://books.google.com/books?id=3CdgUwZBN...kin&f=false (it's called "Sublime spaces & visionary worlds: built environments of vernacular artists" by Leslie Umberger, Erika Lee Doss)

wasn't there a highly detailed answer by claude schlouch in this thread at some point - or did i dream that?

if the same thing also works for signatures i might give it a try...

find the new one less offensive than the last one... that said, i'm still all for banning political avatars and signatures, enjoy the board without the political forums (recommended) and don't want to be reminded (alternatively, i'd propose restricting user with avatars and signatures like those to the political forum) still angry that my post with computer advice and a link to berigan's avatar was deleted as a political post outside the political forum while berigan can post the same pictures wherever he wants...

another moment i will never forget was figuring how improvising worked ( ) playing the g minor scale up and down... i've seen people take those first few steps in extremely brief time, especially on saxophone... the single greatest moment in my brief history of leading a big band was giving all the alto solos to the 12 year old guy which drove the other alto player (who was 19) mad, but it sure was the right decision, musically... german jazz based entertainer helge schneider is self taught on most of his instruments (all but piano and cello) i believe... but obviously he didn't come out of nowhere (tenor sax, one of the few tenor players of his generation who really listened to dony byas etc, obviously) (piano with jimmy woode on bass...) http://www.youtube.com/watch?v=B8AgLsCi07I (trumpet) (guitar) http://www.youtube.com/watch?v=BLrL_hZqEd8 (vibraphone and organ)

and i've been told schaap actually discovered them...

have my doubts whether this will work... a bing crosby set means competing with cheapo box sets in a market where mosaic doesn't have the good name it has with jazz nerds... (and, honestly, while i don't own any of the big boxes and thus possibly am not entitled to an opinion here... contrary to what many here say i don't find mosaics especially rewarding to look at...) their strength was knowing how to suit the nerds' needs... i doubt that the crowd they're targeting now cares much about what mosaic is good at... and since everybody says making money with cds (any cds) is difficult right now i doubt that bing crosby is that much of an exception... that said i don't have anything against the little crosby i heard and saw... doesn't mean i feel like owning 7 cds of him with the buddy cole trio (will look up that name now...) though...

Happy Birthday, Dan!

as someone who has fooled around with a saxophone/clarinet for almost twenty years without significant progress (and with formal instructions), i would guess that a genius who knows what he wants to do can easily get the necessities together within a year and the rest within a second year... one moment i remember very well was when (at 16 after almost ten years of playing) i understood that playing stuff that doesn't sound good isn't necessary, that you can play everything that's in the sheet music in a way that it sounds good (to me); i guess others would have known that from day one

one thing that puzzled me quite a bit was the remark in the liner notes to that album with jack mcduff that kirk was a collector of old sheet music...

seems like they just updated the list of sold out sets but forgot to add the patton... feels like chaos....

what i wrote a bunch of times before... while the world sure is a significantly better place due to the research of steven isoardi, i really wish he was a better storyteller... somehow the interview transcriptions are much more lively than the finished books imho... wish the other transcriptions were online as well...

didn't fruscella have some sort of army funeral? at least that's what i recall from that book (and that only stella waitzkin and the trumpeter the army had sent were there... but that is second hand information iirc (from stella to her son) and badly remembered by me...) when did morgana king become famous (and forgot about her jazz friends)? did bill triglia mean her becoming "mama corleone" or did she become famous like that earlier...? (i mean, she was married to jazz musician dennis until 1965, mama corleone was in 1972) thanks for sharing these memories!