flat5

Chas, Mr. Powell may have been the producer. He is presenting.

Any video of the early band with Steve Bohannon on drums?

About the drummer - The guy talking to him - The last thing he says is "Paul". Right?

Interesting to see this thread. I lived in a flat in 1967 one block off Haight-Ashbury that Billy also stayed at. He could not get real work in San Francisco so he went to New York. He got a job with C. Mingus and their first gig was in...(wait for it)...San Francisco. Over the years many excellent jazz musicians have lived in the bay area but go somewhere else to work.

bertrand, you are two days late with the post :-)

What's a guy have to do to impress you :-) The good jazzy arrangement aside, it could be a show tune. I agree, it is a good song, and performance. I also agree he might not be the only musician with that name.

Anyone here ever heard Don Raffell?

Very sorry to hear that...

I sent the threat to Jay Corre. Here is his response: Do you think the following would be interesting to the discussion on the raymond- scott- dimension ? If so, possibly you could get it on.. regards, Jay Corre Raymond Scott was a task master and extremely complex..In 1946 I joined him in AC while he was playing the Steel Pier and I was playing at the Globe Theater, a burlesque house on the boardwalk. We had three sax's,(Gene Quill lead alto) 2 trumpets. one trombone and a leader, Merrick Valenote who played violin(?) and led the band with his violin bow. We played in a pit for the strippers and the comedians... Ben Cotey, owner of the Dude Ranch got me the gig with Scott. We went on the road with 16 men and girl vocalist Dorthy Collins. We sang a song together: Dorthy:"Met a girl in calico," Jay:"Down in Sante Fe." Raymond was a rehearsal fanatic and we would rush to the next engagement and the band boy, Huey Mc Farland would set up the stands, microphone etc. Scott was sort of a sound genius;he had a tape recorder at that time that played for one minute..He would record the 3rd trumpet player and the fourth tenor player together and exclaim,"Listen to that! (got the idea) On the gig if the sax section would stand up to play ,the parts had to be memorized. If a player would "take a peek," he would turn the player's music over. If I played a jazz solo, he would stand behind me and whisper in my ear:"Go high,,,, now go to the lower register..... After many strange incidences, I quit the band and went back to AC and didn't play again for about a year. --- AC = Atlantic City I also asked him to become a member...we'll see :-)

http://www.gokudo.co.jp/

He had some great moments at the end. His "Fine and Mellow" solo is matchless. One perfect chorus no one else could have played. He was much less consistent in his last years.

This is a very fine record! It is now released with extra tracks. I had the record when I was 13 :-) If I had a credit card I'd buy the CD. I like the comments above :-) One place to get it. http://www.freshsoundrecords.com/brussels_fair_1958-cd-5190.html You can listen to pieces of the CD here: http://mp3poty.com/downoad/Sidney+Bechet+Buck+Clayton+Sex/music/mp3

I like her playing. Her time is not always spot on and sometimes she keeps the pedal down too long making the left hand muddy.

"Praskin was like 16 when he made that record, too!" Yeah, we were both students at Madison Jr. High School in North Hollywood in the early 60s. He could play very good in the 7th grade! We were lucky to have Marvin Brown (trumpet) as one of the music teachers.

I always enjoyed his stuff.

Allan Praskin: alto sax Bert Wilson: tenor sax Warren Gale: trumpet Michael Cohen: piano Bruce Cale: bass James Zitro: drums ESP 1052 James Zitro - Zitro Since 1983, Allan Praskin is a lecturer in jazz saxophone at the Anton Bruckner University in Upper Austria, Linz. Seit 1983 hat Allan Praskin einen Lehrauftrag für Jazz-Saxophon an der Anton Bruckner Privatuniversität im oberösterreichischen Linz inne.

Billy Taylor - Uptown Live 1960 Billy Taylor, piano Henry Grimes, bass Ray Mosca, drums Pianist Billy Taylor's regular trio of 1960 (which also includes bassist Henry Grimes and drummer Ray Mosca) sounds quite tight on this live set, even though they had only been together a brief time. Taylor performs a wide-ranging program within the modern mainstream of the early '60s, including pieces by Erroll Garner ("La Petite Mambo"), Duke Jordan and Bobby Timmons (a heartfelt rendition of "Moanin"), four of his originals (highlighted by the boppish "Biddy's Beat") and a driving version of "'S Wonderful." Although Taylor's activities as a highly articulate spokesman for jazz have sometimes overshadowed his playing, he shows throughout this fine CD reissue that he has long ranked among the best. --- This is a GOOD record! Goodbye, Doctor Taylor.

I heard one of his records and hated his time concept. Have avoided hearing more.

Very funny :-)

Thanks again

Thank you!

You know how to play high C. Just pucker up and blow.

I enjoyed all of it except the sax player.

Sister Sadie is a MUCH better chart. Even the chord progression of the first one is a turnoff to solo on. The harmonic rhythm and flow is meandering. So happy that Porter\Praskin got a mention! I met Sal in 1983 at a rehearsal in the Bimhuis, Amsterdam. He was very tired then, in the afternoon :-) I walked with him to a "smoke" shop. Complimented him on his tonguing at fast tempos. He said, "I don't do that anymore".