garthsj

Hey Brownie ... Have you ever seen this DSM cover? What's on the album?

Just to make sure ... illustration on the Krupa LP is NOT by DSM ... however ... Yes .... a bare lightbulb does appear in many of his drawings .. I assume that they are symbolic of loneliness, alienation, poverty, anomie ... all of those dysfunctional attributes that surround jazz musicians. Just read extensively into the jazz fiction literature and you will see how common these themes are ..

It wasn't until I read Manek Daver's wonderful book on David Stone Martin, that I discovered that this famous cover was NOT done by DSM, but by artist Elizabeth Dauber, under the direction of DSM. He told her "to use the pictorial drum skin to express romance; hence the shore and wading figure." This was one of the very first 12" LPs that I bought.

While some of that is happening, I think with many folks here you do the math with the following factors: life expectancy with good hearing, amount of time for listening, square footage of storage space available, and current inventory of cds. If you own several thousand CDs (heck, even just 1000) and you're over 40, there's a chunk of music that may never get played again. Might as well start culling the collection (to free up space & cash to buy more! ) Hmmmmmmmm ... 67 - 5000 + 1,900 squ.ft = liquidation! Essentially that is the dilemma I am in. As a fairly financially comfortable single guy about three years from retirement, I am beginning to downsize my life while I work out my options for a future life. I may stay right where I am and find a small place on a beach that can visit often ... However, I am currently double-stacking both books and CDs on their shelves, and the equation Quincy offers above comes into play. Now that I no longer need all of my library for my radio show, or all of my books for research projects, I just have to start culling these collections. It is rather sad ..but it has to be done. I sent my son home to Toronto last weekend with more than 120 CDs in his bags .. and he made it through customs without a problem! I have told this story before on here, but in 2001, I sold my entire collection of about 8,700 LPs to Euclid Records, a store in St Louis specializing in Jazz vinyl. The guy drove down to Houston overnight, looked over my collection, made a fair offer, and after modest counter he wrote me a check, and boxed the collection. I made him a sandwich, and he drove back to St. Louis the same day. For the next few years I broke into tears every time I saw one of my albums on Euclid's auction lists. Of course, of course, if I had held on till now, I could have gotten about twice the price on eBay, but it was far too much trouble. So ... are there any honest dealers out there paying a reasonable price for used CDs? Or am I just caught in the great "boomer selloff"?

I have just made my first listing on here, and I would like the collective wisdom from my fellow members. I have a collection of slightly over 5,000 CDs, and I have decided to make some serious inroads in culling that number. In all naivity, should I list them here first, with appropriate discounts for quantity purchases for the benefit of fellow members, or should I list them on eBay, and then post that listing here? Any thoughts.. ? Garth.

I have this CD and there is none. Obviously an error in the Muze database that was used. Yes .. that Muze listing program is quite a pain .. for instance, almost Bill Evans CD I have tried to list claims that it has Jim Hall on the album. I will have to do personal scans to get around this, as it seems to be impossible to edit this information ..

YES! My son thinks that he can make a killing with a copy of the September 2002 Playboy featuring Anna Nicole ... it was a rather trying experience to put it on Ebay, because they determine that every Playboy after 1996 has to be in the "adult section" ... He wants $19.99 for it ... anyone interested?

I am beginning to liquidate many of my CDs .. basic downsizing. Here is my current eBay list, including two non-jazz items perhaps of interest to some. (The Anna Nicole item is my son's ... ) http://tinyurl.com/2kumvv Sorry .. I am still new at this .. My eBay name is: garthsj

In case you missed this video, here is an indication of why Paul Desmond is still so revered by his fans. This is a wonderful solo, and Desmond knows it ... just catch that smile at the end of his solo as he adjusts his mouthpiece ... God! I miss Paul Desmond ... This may take some time to load, but it is well worth waiting for ... http://www.dailymotion.com/video/x1ispq_th...hings-roma-1959

For some strange reason "Plenty, Plenty Soul" is a very neglected masterpiece, imo. I have always loved this album, and once even had one of those early weird Atlantic green label stereo versions of this, in which Cannonball sounded as if he was playing in the next room. I assume that this remastered reissue is a mono version of this wonderful album? I also believe that the stereo takes were different from the mono takes ... I assume that these are not included. Great Lucky Thompson on the 'B' side .... On the new issue Cannonball remains in an adjacent room but the sound is otherwise very clear. The drums are perhaps a little loud suggesting a mixing problem. The tracks with LT suffer no problems in terms of balance. I've not heard this session before so can't compare but I've no complaints with this issue of Plenty,Plenty Soul I just returned from a week lying in the sun on Cozumel ... and now I have had a chance to listen to this Japanese remastered CD. It certainly is a vast improvement over the last 1989 reissue, however there are still some places where the balance seems to shift or fade ... but on the whole I am very pleased. The sound is a lot brighter than the previous CD.

This is an interesting, and perceptive review of Allan Shipton's NEW HISTORY OF JAZZ. http://www.commentarymagazine.com/cm/main/...44&page=all

If that's true, I'll be looking for that CD reissue. 'Plenty, Plenty Soul' has been a favorite album since its release. I still have the black label mono original. Too bad that the sound quality was not a top priority at Atlantic. The label had great music, great covers and much too often no good sound and mastering! So what are you saying, Brownie .. that if these are the stereo tracks as suggested it would encourage you even more to buy this? I assume that they corrected the balance problem that I alluded to earlier. Also, I do not remember that the 'B' side, with Thompson was ever in stereo ... Can someone who has this album tell me if these cuts are really stereo? Now ... I wonder if there is ever going to be a reissue of the William (Bill) Russo album, THE WORLD OF ALCINA? I do not think that this has ever been reissued, or at least I have never seen one. (I am a Russo freak).

Well, having suffered through the thesis topic issue myself many years ago (I eventually wrote about the social impact of the movies in America), if I can provide any information about South Africa in the period before 1958 (when I left) don't hesitate to ask ...

For some strange reason "Plenty, Plenty Soul" is a very neglected masterpiece, imo. I have always loved this album, and once even had one of those early weird Atlantic green label stereo versions of this, in which Cannonball sounded as if he was playing in the next room. I assume that this remastered reissue is a mono version of this wonderful album? I also believe that the stereo takes were different from the mono takes ... I assume that these are not included. Great Lucky Thompson on the 'B' side ....

Epistrophy .. what is the title of your thesis, and where are you doing it? Thanks .. Garth.

God! That picture of Kippie brings back so many memories ... Thanks for posting these UBU ... they are a real find.

Here is a great clip of the Dave Brubeck Quartet at the height of their power taken from a German television broadcast ... Joe Morello makes it look so damn easy ... what an underappreciated drummer he is. Once again, I apologize if this has been posted before ... It not NOT from Utube. http://www.dailymotion.com/video/xu4g9_bru...he-a-train-1966

I was born in Cape Town in 1940 .... as a teenager heavily into the jazz world, I was involved in arranging jazz concerts at the Weizman Hall in the suburb of Sea Point, and also at other smaller venues. Occasionally these slipped over the apartheid barrier into mixed racial events (Cape Town was always more lax in these matters because of the large "colored" population), and eventually this landed me in a lot of trouble with the local authorities. After being detained at Caledon Square Police Headquarters, and threatened with corporal punishment by the South African police in 1958, I decided to leave South Africa for London. I have been back several times, but never to live there. I have considered going there to retire one day, as Cape Town is a very difficult place to get out of one's blood, but who knows .... ? Also, I seldom see mention of the important role that "Dave's Jazz Club" played in developing the modern jazz scene in Cape Town. Admittedly most of them musicians who played there were white, but here too, this policy was not always adhered to. It was in that darkened upstairs room on Longmarket Street that musicians like Morris Goldberg, Cecil Ricca, Johnny Marshall, Nolan Ranger, George Kussell, Midge Pike, Merton Barrow, and many others honed their skills playing the jazz that they heard on the imported American LPs. Mostly happy, but also some sad memories of what might have been in that beautiful, but tragic country ...

UBU ... The name of the drummer that acoompanied Bud Shank to South Africa was Jimmy Pratt. The rest of the quartet was Vlaude Williamson, p; and Don Prell, b. Unfortunately I can find no mention of him on any of the cuts from the "Jazz 'n Jive" CD ... there are no complete listings of the musicians. Howver the album does feature Kippie Moeketsi, the great pennywhistler Spokes Mashiyane, and the legendary, but ignored voice of Dorothy Masuka (who was a particular favorite of mine). As you and I have discussed before the official discographies for these early South African recordings is very scanty ... too bad, as it would help to establish the real history of South African jazz. For one thing, I know that Gallo was recording jazz, both black and white as early as the 30's, but there is no way that I know of to track down these recordings. I wonder if anyone has ever had access to the Gallo Company's files, if they still exist? (As a practicing historian my mouth always waters at the thought of previously unaccessed files!)

Wow - that's far out! Yes, Gallo is a good label to hunt down for '60s SA music. I believe there was a Chris McGregor on Gallo that's pretty scarce. They also distributed those Dollar Brand LPs on Soultown, iirc. I've had a couple of those before. I realize that this is largely a discussion of South African jazz developments after 1960, but in this thread, and also in the very interesting section in AAJ on "South African Jazz" there is very little mention of the jazz scene in the 1950's. I was there experiencing it. In particular very little is mentioned of two salient events in the late 1950's .. the visits of Tony Scott in 1957, and then Bud Shank in 1958. Both of these musicians recorded while in South Africa, and here again these recordings are never mentioned when trying to decide which was the "first" modern jazz reorded in that country. The Scott recordings (2 tracks) are found on TONY SCOTT IN AFRICA - Music of the World CD 12536; the Shank recordings (7 tracks) are found on BUD SHANK QUARTET - Fresh Sound FSR-CD 129. These first time visits by famous American jazz artists had a very strong influence on local musicians, both black and white, not so much in terms of emulation of style, but as a strong of validation of their music. Both Americans also played to all racial groups, thus establishing the universality of the interest in jazz in the complex racial mix that exists in that country. It is a pity that the new political reality of the "Rainbow Nation" has relegated these two momentous occasions to the dustheap of history. At age 17 I wrote an article that was published in Metronome Magazine about Tony Scott's visit. Here is an excerpt from Scott's official website discussing his visit to South Africa: He left for a tour in South Africa, organized by manager David Katznelson, and even there reviews spoke about Blues for Charlie Parker performed during the two Cape Town concerts: "...the highlight of both shows was definitely his 'Blues for Charlie Parker’. Played with intense emotion, this number conveyed to all, the tenderness and adoration Scott held for Parker." (Garth Jowett - Metronome) "On the 19th of August, 1957, South Afrika had its first visit from an American jazz musician. The man who had the pleasure of ‘breaking the ice’ is poll-winner, clarinetist, Tony Scott, who has toured in all major cities " (Garth Jowett - Metronome) The man who refused to play only for whites. (Drum Magazine-South Africa) U.S.A. Agency USIS told Tony Scott they could not help him financially as he was into anti-apartheid territory with his ideas of integrated musicians and public. He decided to go in Africa without the support of USIS, and the tour, occurred during the apartheid era, had a sold-out hall and multi-racial audience; the first time that a concert was held for an integrated audience of Whites, Colored, Blacks, Indians, etc. Tony Scott played at Johannesburg Jamieson Hall - Cape Town University, and Durban ABC Radio program Artist in Rythm. He was accompanied by Noel Stockton(p), Max Runge(p) (substituted by George Kassel), and Alan Heyes(dr), all white Afrikaans. On his way back through Johannesburg, he recorded for RCA with a groups of African musicians, amongst whom were the pennywhistles Alexander Dead End Kids and an African women’s vocal group. On his return to the U.S.A. in November 1957, the government demonstrated its appreciation for his work with a letter of congratulation : "While you were visiting the different countries...you were able through the medium of music, to create among the musicians with whom you met, as well your audience, a feeling of friendship for our country I wish to commend you for the part you are taking in helping to establish a firm foundation for good among your fellow men." (Personal letter from Vice President Richard Nixon)

I am intrigued when I find something in a jazz recording which indicates that this serves as the foundation for something bigger that is to come in the future. Let me illustrate with two examples: This past weekend I was catching up with my stack of 136 unopened CDs, and I happened to listen to the fine 2-CD set of "Jimmy Cleveland's Complete Emarcy recordings" issued last year on Gambit. On the second (of four) albums that Cleveland did for Emarcy, "Cleveland Style" there is only one arrangement by Benny Golson, and that is of the tune "All This And Heaven Too" (the rest of the album was arranged by Ernie Wilkens). I was immediately struck by how this 1955 arrangement sounded very close to what Golson would later do to create the sound of The Jazztet in the early 1960's. The horn instrumentation was very similar too, with Art Farmer on trumpet, Golson on tenor, Cleveland on trombone, but with the addition of Don Butterfield's tuba. If you have this album, please listen to this cut, and tell me if you agree that this is "early Jazztet"? Similarly, I have always been fascinated with Gil Evans' arrangement of "Blues For Pablo" that he did for Hal McKusick's Jazz Workshop album on RCA. This was recorded on April 3, 1956. Gil later went into the studio on May 23, 1957 to record his more famous version of this tune with Miles Davis on the "Miles Ahead" album. However, the earlier version is clearly a "trial run" for the Davis version, and deserves to be more widely appreciated. Can you historically savvy folks out there come up with more such examples .... I am always eager to learn new tricks.

Sorry but I don't see any connection - artistic or esthetic not to speak of political -between OP and the Nuremberg gatherings that Riefenstahl filmed! None whatsoever! Nate, you may not be a fan of OP but he deserves better than this! I agree wholeheartedly with Brownie; Oscar certainly deserves better than a cynical dismissal. There are lots of things that could be said about Oscar Peterson (mostly positive) but to suggest that he does not "swing" certainly should not be one of them. (Of course, this is likely to start a whole new interminable discussion of what "to swing" means). I had the opportunity to meet Oscar Peterson when I was a student of jazz history at his Advanced School of Contemporary Music in Toronto in 1961. The classes were taught by Oscar, Ray Brown, and Phil Nimmons ... I may not have agreed with everything they said, but to sit in classroom with those musicians and have them "illustrate" their talks was an unforgettable experience. Also, Oscar was, and by all acounts remains one of the true gentlemen of jazz ... I should also point out just for the record, that as the author of several books on the subject of "propaganda" I am fully qualified to state witihout equivocation that there is absolutely no comparison between Leni's "will" to propagandize, and Oscar's "will" to play great jazz! So there ...!

Bruce, you are right .. Konitz has put out a lot of albums, BUT, most of these have been in the last thirty years. For those of us who were Konitz fans dating back to 1953 (when, as a 13 year old, I received as a gift of a 10" Prestige album of his) it was a long wait between albums. A look at his available discography in the period up to the late 1960's shows a relatively small number of albums for a musician of his stature at the time. I distinctly remember buying both of these LP albums at Sam The Record Man's store on Yonge Street in Toronto at the time they were released. They were incredible additions to my then small, but treasured collection of Konitz albums. I have both now on Japanese CDs and they continue, as Larry pointed out, to bring me great pleasure.

Jim Harrod posted this notice on the West Coast Jazz list yesterday. It sounds very promising, and gives yet another reason to be thankful to the European reissue labels for having the foresight to make music like this available. It's not every day that we are treated to a previously unreleased session from the 1950s, but a recent email from Bob Zieff informed me that Jack Nimitz has made arrangements with Fresh Sound to release the following ABC-Paramount session that has never been issued: THE ABC-PARAMOUNT HARRIS - NIMITZ SESSIONS All arrangements by Robert Zieff First session: Jack Nimitz, baritone sax; Bill Harris, trombone; Gene Orloff, 1st violin; Dick Wetmore, 2nd violin; Lucien Schmidt, Seymour Barab, and Alan Shulman, cellos; Chuck Wayne, guitar; Russ Saunders (Savakus), bass; Teddy Sommer, drums. Second session: Jack Nimitz, baritone sax; Bill Harris, trombone; Gene Orloff, 1st violin; Dick Wetmore, 2nd violin; Lucien Schmidt, Seymour Barab, and Alan Shulman, cellos; Jimmy Raney, guitar; Russ Saunders (Savakus), bass; Sol Gubin, drums. Third session: Jack Nimitz, baritone sax; Bill Harris, trombone; Gene Orloff, 1st violin; Harry Lookofsky, 2nd violin; George Koutzen, Harvey Shapiro, and George Ricci, cellos; Kenny Burrell, guitar; Oscar Pettiford, bass; Don Lamond, drums. 1. LEAN ON ME 3:58 2. A HANDFUL OF STARS 2:20 3. SHINE 3:41 4. AUTUMN NOCTURNE 3:09 5. LONG AGO AND FAR AWAY 3:57 6. SOMEBODY LOVES ME 3:14 7. THE LOVE NEST 5:30 8. SOFTLY, AS IN A MORNING SUNRISE 3:58 9. YOU AND THE NIGHT AND THE MUSIC 4:58 The session was most likely the victim of changing A&R heads at ABC Paramount. The session is mentioned in the August 8, 1957 issue of Down Beat on page 8 -- "Bob Zieff scored all the tunes for a Jack Nimitz-Bill Harris set on ABC-Paramount with two violins, three cellos, Oscar Pettiford, Don Lamond, and guitarists Chuck Wayne, Jimmy Raney, and Kenny Burrell on the dates..." I am a great fan of Zieff's writing and wish that he had remained longer on the jazz scene, or perhaps it is the other way around, that the jazz scene that appreciated his writing had remained longer. Chet appreciated his writing and in particular recorded SAD WALK several times in his brief career. Jim

I agree with you Ghost. It's only because I made so much money doing my jazz radio show here in Houston on public radio for 16 years, that I can afford to live the big life and dabble as a lowly paid academic author ... ... and as far a metaphors are concerned, as George Lakoff points out in his book, METAPHORS WE LIVE BY, almost everything we consider is essentially compared to something else within our archives of experience ... but that doesn't mean that we have to write them down. I must confess that I own every book that Whitney Balliet has written, and I still get great delight from his descriptions. Perhaps he was not the most insightful analyst of the music, but he could certainly "paint a great picture" ...