garthsj

Thanks to all who alerted me to this sale ... My bank account is slilmmer this morning ... and I am sleep deprived becasue i was up till about 1:30 compiling an order of 37 items. I did not have to fill a large number of gaps, but I did take advantage of the list to get a lot of K2's ... and to be adventurous about some things I have never owned. There is one really fine album I am amazed that no one has discussed, and that is the Lem Winchester, "Lem's Beat." Just recently I realized that I was missing this particular album from my Lem Winchester stash, and started to look for a copy. This sucker sells (sold) for a small fortune on Amazon, or anywhere else, and was OOP at most of the basic retail online stores like CDU or CDConnection. I never thought to go to the source itself, and look at the Concord site, and instead after much "googling" I purchased a copy from a smaller online company for $16.95 plus $3.00 shipping just three days ago... and here it was for $2.98!! Damn ... well, I ordered a copy and will attempt to return the higher priced item ... I highly recommend this gem of an album. Now ... let's see how many items from my order will actually be shipped. This raises the question .. If one has met the $100 benchmark or the 30 item level with intended purchases, and they can only ship $99 worth of merchandise, or 29 items ... what price wil they charge?

Once. long ago, in a vinyl world that I no longer occupy, I had all of these albums, and I believe that they were reissued in Europe on German Verve in the 1980s ... they are still around ... check here: http://www.gemm.com/c/search.pl?field=ARTI...16&Go%21=Search

I have volumes 6 through 9 (and have vol. 10 on order) ... and while there is some minimum overlap, it is not enough to prevent owning this wonderful series. I am not sure why, perhaps it is my love of everything associated with "cool jazz," but I find this series, and the earlier 9 volume series, "Jazz In Sweden: 1949-1961," with music taken from the Metronome label, to be very immensely interesting and worthwhile.

You can order this CD directly in Japan without any problems. Send me a message pm and i'll forward you the email address of the producer. Keep swinging Durium I believe that the rare Buddy DeFranco big band sides have now been issued on a recent Hep CD. Fine music. See here: http://www.allegro-music.com/online_catalo...?sku_tag=HEP377 Garth.

Thanks Dave .. I finally found a new copy on the Amazon U.K. site from one of their vendors for about $20.00, including postage.

I have all seven of the previous volumes on Dragon, plus, of course, just about everything else available on CD ... BUT ... I have been trying to get a copy of volume 8 ever since it was announced with no success. Usually Cadence gets the entire Dragon catalog, but so far they have not received this item. Does anyone have a suggestion where I can find this album, preferable in the U.S. (I have also tried Double-Time, as well as the usual suspects such as CDU, and The Bastards .. No luck!). Garth.

Do you get to decide what the "clarinet actually sounded like"? Which system - they sound very different. Whether it be the Boehm, Albert, Auler, or Simple System ... I have always preferred the clarinet sound of Anton Stadler ... that is the standard by which I, as the sole arbiter, decide what sounds like a clarinet or not!

Cynicism aside, let's agree that they were playing in a "modern" style in the middle of the last century ... at least these musicians played a style in which the clarinet actually sounded like a clarinet!

No one seems to have mentioned the fabulous (sparse) arrangements that Jimmy did for two Lee Konitz albums, both are now available, one on Verve, and the two together on a recent Lonehill reissue. The arrangements for the Anita O'Day album are sublime, as is the album for Herb Ellis on Verve .... There are so many wonderful Giuffre arrangements around ... and, of course, the Mosaic box contains a pristine (no click) version of the "Clarinet" album, complete with the foot tapping ... The neglected "Music Man" album has great arrangements, and should be listened to much more closely than most critics seem willing to do ... Also .. let us not forget the arrangement for Herman's "Four Brothers" ... Garth.

This thread brings out a lot of thoughts .... I LOVE this music .... That last Peter Ind release, JAZZ FROM THE NINETEEN FIFTIES (Wave CD39), with Konitz, Don Ferrara, Billy Bauer, Dick Scott (Tox Drohar), and Peter Ind is a sadly neglected gem, which should have received far more atention than it did. In my mind it certainly ranks up there with some of the "rediscovered" treasures so loudly triumphed in the press lately. And there is the promise that there is still more music where this came from ... Also Peter Ind's wonderful book, JAZZ VISIONS: LENNIE TRISTANO AND HIS LEGACY (London:Equinox, 2005) is required reading for those who wish to gain an accurate insight into Tristano's role in the development of modern jazz. I think that Ind takes on, and disposes of many of the mythologies that have surrounded Tristano, and in particular that Lennie's music was strictly "white" and "cool" .... I would heartily recommend this book to anyone interested in the history of jazz. I thought that I knew a lot about the Tristanoites, but this book has given me a whole new perspective and appreciation for this essential music.

Dynamic album .... with so few really interesting bari players around these days, this really satisfies my visceral need to hear that instrument .... Get it! Gary has always had the chops, going back to his early years with the Jones-Lewis BB, but he has matured in his improvisational choices and quality, and has gotten away from trying to take the place of Pepper Adams. I have most of his albums and his progress is very obvious.

I have noticed recently that Fresh Sounds has begun, as I predicted a while ago, to reissue material from the vast, and very tempting, Norman Granz catalog. There is a Ralph Burns "Among The JATPers", and just today I noticed this album: Kenny Drew Trio Featuring: Kenny Drew (p), Curley Russell, Eugene Wright (b), Art Blakey, Charles 'Specs' Wright, Lawrence Marable (d) REFERENCE: FSRCD 416 BAR CODE: - PRICE: 8.99 € In a jazz scene literally overflowing with brilliant pianists, the clear truth is that a disproportionate number of them rely on their skill as technicians rather than their imagination, their wit and their new approach to older ideas. Mostly, the latter attributes are lacking. In Kenny Drew, however, we had a pianist whose skill was readily apparent—it was so apparent, in fact, that he chose not to belabor the point and astonish us with virtuosity for its own sake. Skill having been stated to everyone’s satisfaction, Drew went on to other matters—to the subtleties in shading and expression that made him unique. Contains the albums: - New Faces / New Sounds (Blue Note) - The Ideation of Kenny Drew (Norgran Records) Tracklisting: 1. Yesterdays (Kern-Harbach) 5:19 2. Stella By Starlight (Young-Washington) 2:26 3. Gloria (Drew) 3:21 4. Be My Love (Cahn-Brodzsky) 2:41 5. Lover Come Back To Me (Romberg-Hammerstein) 3:30 6. Everything Happens To Me (Adair-Dennis) 4:39 7. It Might As Well Be Spring (Rodgers-Hammerstein) 2:46 8. Drew’s Blues (Drew) 2:23 9. Bluesville (Drew) 5:21 10. Angie (Drew) 5:33 11. I’ll Remember April (Raye-DePaul-Johnston) 6:33 12. My Beautiful Lady (McLellan-Caryll) 5:33 13. Many Miles Away (Drew) 2:42 14. Four And Five (Drew) 3:13 15. Fifty-Second St. Theme (Monk) 3:22 16. Lo Flame (Drew) 3:34 17. Chartreuse (Drew) 4:29 18. Kenny’s Blues (Drew) 5:55 19. Polka Dots And Moonbeams (Burke-Van Heusen) 4:16 Personnel and dates: #1-8: Kenny Drew (p), Curley Russell (b), Art Blakey (d). NYC, April 16, 1953. #9-13: Kenny Drew (p), Eugene Wright (b), Charles "Specs" Wright (d). NYC, 1953. #14-18: Kenny Drew (p), Eugene Wright (b), Lawrence Marable (d). Hollywood, September 2, 1954. #19: Kenny Drew (p). This is a two-fer combining a Blue Note and a Norgran! Also, the Kenny Drew Trio on Norgran was recently reissued on the Verve Vault download site. I wonder what all of this means? I must confess, as someone who prefers his music in a nice jewel box, this could be the answer to finding those elusive albums, complete with liner notes and cover art (albeit a small one).

Chris, I totally empathize with what you are saying and the reaction to your Bessie Smith project. Maybe you should have emphasized the "sex" angle ... Seriously, I have this running dialogue with my students in my "Social Aspects of Film" class which centers around the question: "Who, in God's Name, approved the making of this film, and why did they think it would attract an audience?" It is, ultimately a difficult question to answer ... but makes for an interesting and spirited discussion. But .. MEDJUCK!! Where are you? .. No one is better equipped to answer this question than you are. Tell us why some films are made, and others are not!

Did you mean "moanority"?

Having studied Hollywood for most of my life (it's what I do for a living!), I think that we can thank our lucky stars (pun intended) that this movie was ever made at all! If it had not been for Clint Eastwood's personal emotional attachment to jazz (and his close friendship with Lennie Niehaus), who is heaven's name would ever have "greenlighted" a major motion picture production about a "black, junkie bebop musician"? I know that the film has deep flaws, but I must confess that for me it was still a thrill to see a picture about THIS MAN making it to the screen with a fairly significant publicity campaign, and a very successful soundtrack album sale in the aftermarket. Larry, the Kentonites on the Kenton Board have wanted Eastwood to make (and star in) the Stan Kenton story for many years now. Now ... who in Hollywood would be willing to greenlight THAT story .. and why? Regarding Goodman, and Billie .... hmmmm .. does anyone really remember Goodman? On the other hand, with so many promising young black film directors and acting talent now available, I would not be too surprised to see an "accurate" Billie Holiday biopic sometime in the future ... After all, the black population goes to movies at an attendance rate almost 50% more than their white counterparts, and films about black stars (see RAY) do attract white audiences. (Yes, I realize that Billie was a "black, junkie jazz singer" -- but her story has a much more compelling story arc for a movie plot).

Funny ... in all the years (since about 1953) that I have been an avid brubeck (and Desmond) fan, I have read a lot of criticism about Dave's playing being too bombastic, unswinging, abstract, unsubtle, etc., but I have never heard the expression "Old Iron Hands" ... what is the source for this quote? For what is is worth, hearing Dave in concert is still an enormous thrill for me ... He seems to have lost little of his enthusiasm and this is very contagious .. if anything, he is more "playful" than when I first saw him at the Hammersmith Odeon in London in 1958.

Has anyone read this book yet? It looks quite interesting .... I decided to look Yaffe up based on the thread on his article on Andrew Hill ... http://www.amazon.com/gp/product/069112357...6911834?ie=UTF8

Over the years, as I have wrestled with this problem I have learned to play a cruel game ... I try to see how many pieces I will end up with after removing all of this tape. So far my record is 18!!! It stops me from crying, and I just laugh trying to picture the executives at EMI trying to do this for themselves ... I bet they have their free copies sent to them without this dreaded tape ...

I certainly second this motion. Unfortunately his wife died about two years ago. I met her once at one of Ken Poston's west coast weekends, and she was a charming, and well-informed lady. (She was there when the music from the PJ album "The Immortal Clifford Brown" was very effectively recreated by Jack Montrose, also sadly no longer with us, with Carl Saunders doing the trumpet solos ). Clifford's son, Clifford Brown, Jr. does a regular afternoon stint on KCSM-FM .. a wonderful jazz radio station .... and he does a fine job. KCSM is available on the net and worth keeping on your desktop.

I am surprised by how little response this thread had received today ... I wonder if the genius of Clifford Brown is truly appreciated by many on this board who are not that acquainted with his music. I know that we try to avoid disparaging comparisons, but for instance Lee Morgan gets an amazing amount of attention here (Is it because he was a Blue Note recordings star?), and IMHO he couldn't hold a valve to Clifford (or Art Farmer either, for that matter). Still ... you had to be there when Clifford first appeared on the scene. For those few reading this, you might enjoy learning how I became aware/interested in Clifford Brown. In my early teen years (12-15) I was very much into the west-coast stuff, and tried to get as many albums from labels such as Pacific Jazz, and Contemporary as I could. This was not easy in South Africa, and I used to give my hard-earned pocketmoney to the older brothers of many of my friends who were in the merchant marine, sailing between Cape Town and New Orleans. I used to give them lists of albums I wanted taken from reviews and ads in Metronome magazine, and they would try to find these albums for me while in port in the U.S. One time my "buyer" returned with this album on 10" Pacific Jazz that he had seen, and thought that I would like. I had never heard of Clifford Brown, (I was not yet into Blakey and the Messengers) as the album had just been released, and not yet advertised ... It was called "Clifford Brown Ensemble Featuring Zoot Sims" ... and featured several of my west coast favorites such as Bob Gordon on baritone, Russ Freeman on piano, Joe Mondragon on bass, Stu Williamson on valve trombone, and Shelly Manne on drums ... the great, tight arrangements were by Jack Montrose. Clifford was the unknown quantity for me, but I listened, and listened, and listened .. and by the end of the first evening I was a total convert! Just imagine the thrill of hearing "Daahoud," "Joy Spring," "Bones For Jones," and "Tiny Capers" for the very first time!! I spent the next few years trying to get every piece of music by him that I could lay my hands on ... but it wasn't until I moved to England in 1958 that I was able to get a full set of the Emarcy albums ... and as I said in my earlier post, it was then that I fully understood what an enormous lacuna his death has left in the history of jazz trumpet playing. Also, as I noted earlier, perhaps you had to be there when all this happened ... Clifford was unique, and his replacement has yet to appear. God Knows! where he would have taken his talent if he had lived ...

I think that you mean "Goldilocks" .. right? The Red Hooded One was the kid that killed the wolf! When last did you read Grimms Fairy Tales?? Where in Houston are you esconced? Perhaps I can buy you an expensive cup of coffee sometime ...

How about John Lewis's "P.O.V. (Point of View)" .. a great album .... and there is also material from Orchestra U.S.A. .. and the Bob Prince material .... There was also a fine 2-LP set featuring piano players called "They Played Bebop" or something like that. I used to have a copy in my late lamented LP collection ... If we go through the Columbia catalog I am sure that there are many gems yet to be mined ..

I remember with some clarity hearing about Clifford Brown's death several days after the event. Even in in far off Cape Town, the news filtered through. I had two Brownie albums at that time, and loved them both ... but the significance of the gap that his death woud leave did not hit me the same way that Charlie Parker's death had. It was only after acquiring the rest of his recorded legacy that I began to understand how much jazz had lost by his early death. See this article .... http://www.washingtonpost.com/wp-dyn/conte...er=emailarticle

Try this ... I got these a few weeks ago, and the sound is very good, especially considering the price. Open the U.K. Amazon site, and then look for "Miles Davis - Olympia" under "popular music." Then choose the Laserlight editions ... they are the cheapest and the easiest to find. http://www.amazon.co.uk/exec/obidos/search...3198536-3350006 Garth.

Go back and read my first post. OOOPS! Must be my eyesight ...