Big Beat Steve

Does that matter for the CURRENT state of the debate (which may well have flared up - as you no doubt ar eaware - once certain posts have been deleted very recently for the very same conflict with existing rules)?

So if you deleted this or that political post in this thread during recent days as it seems, what's keeping YOU from deleting JSangrey's Time cover post (which - like that of many others - I find EXCEEDINGLY political too)? After all its been brought to your attention by now. (Is there really any question or doubt about photos carrying and being able to carry an immensely political message?) Or is one mod deleting another mod's post out of the question? FWIW (and even if it only adds another repetitive layer to the debate), needless to say that on grounds of fairness I agree with what Brad and Paul Secor said here recently about one rule for everybody. Once you start enforcing rules, enforce ONE set of rules vs EVERYbody. Wouldn't that be just a matter of fair and square fairness all around?

In addition to the Aaron Bell LPs of 77 Sunset Strip and Victory At Sea already mentioned above, here are some LPs I picked up through the years (for the fun of it - as "period" jazzy lounge oddities): https://www.discogs.com/de/Video-All-Stars-TV-Jazz-Themes/release/2342371 https://www.discogs.com/de/Harry-Betts-His-Orchestra-The-Jazz-Soul-Of-Doctor-Kildare/release/6464553 https://www.discogs.com/de/Metropolitan-Jazz-Quartet-Plays-The-Great-Themes-From-TV-Shows/release/5511023

https://en.wikipedia.org/wiki/Sturm_und_Drang You might perhaps want to borrow a different word from a foreign language to describe your (political) turmoil(s). Remember it is various styles of jazz in particular (that are being discussed here on not so frequent occasions) that THRIVE on these intentional extremes of emotion. No safe heaven in the true, artistic sense of the term, then ...

But for a non-musician the sections that go BEYOND the biography and the purely disocogrpahical details are a TOUGH read.

Fascinating indeed and meriting a serious "tangible" release - but .... Lewis Porter (THE Lewis Porter who isn't just anybody in the field of jazz history) writing, in all earnest (talking about "Sleepy Time"): "The Rene brothers appear to have been musicians ..." "Appear"? Really? Can he be serious? What kind of blind spot is this? Leon Rene had a VERY long and many-faceted career in the music business. Is it that hard to put the bits together e.g. from Leon's pic (taken in his early days) with the Buddy Petit band in the "Pictorial History of Jazz" (first published when Leon Rene was still active) to the Excelsior and Exclusive labels that he and his brother Otis ran post-war (and these labels were not just "any" indie label either) and Class Records later on. Nitpicking? Maybe, and nobody knows everything, but still this sort of unevenness in historical awareness is rather amazing to come from a seasoned pro.

I am not so much actually referring to this forum but to advanced music listeners (who might well be termed collectors) in general - many of them in what is termed "rock" - who just do not seem to be too interested in READING up on their musical preferences in the sense that they (sort of) collect books or mags on their music too. An impression I have gotten in various discussions. So I am not that surprised (maybe less than JSngry) by Chewy's position. And yes - I am biased, considering myself a collector of printed matter on my preferred styles of music too.. Yes, both R&B and gospel. The foreword says "All known details on jazz, blues, rhythm and blues and gospel sessions are included ...". However, it also says (in the 1980 edition): "Savoy files ... are far from complete - this is especially true for early sessions and for 1966-75 sessions. Files covering this last period had yet been found, and listings for these years have been limited to jazz releases and index of gospel albums". Apart from their entries in the chronological session listings, the gospel series are scattered throughout the book in numerical order.

The "Al Haig meets ..." and "Nat Cole meets ..." volumes, in particular, were ear openers to some of the rarer sessions on Dial and elsewhere. And I think I relatively wore out my copy of the Dodo Marmarosa LP too (one of those cases where I ought to have picked up a cheap NM spare copy when the occasion presented itself).

Not a rare occurrence in the field of music collecting (not just jazz). Collecting music (in the sense of buying it more thoroughly than an average music consumer would do) - yes. But reading about it, either for discographical reference or background knowledge of the history of the artists etc.? No ... what for? "Reading? What's that? Too academical! Keeps me from LISTENING!" That's the impression I got in a number of cases, strangely enough.

Have a look at the orange-color panel the bandleader is displaying in the bottom center picture on the cover of John Mayall's "Crusade" album. He must have had SOME influence in the UK for sure.

Same here. The Spotlite series isn't bad at all, neither is the Storyville reissue of the Dexter Gordon Dials, etc. I know I am likely to it regret it for some of the alternates or the occasional session that fell through the gaps of other reissues but you can't have it al, unfortunately.

Ha, so the much-maligned neo-swing movement did do some good after all, as it shows now - 20 years after publication of this piece. Nice piece indeed, just a pity it gives such short shrift to his European activities and presence. Taking it on himself to make the trip that often up to (almost) his final days really showed his dedication ot the cause. He was held in awe in the lindy hop scene here by anbody who witnessed him or attended one of his classes and he became more than a legend in his lifetime.

Been listening in to some of them - and sorry, while her voice does have some appeal she would have deserved a different backing. Just IMHO admittedly, but these strings stil stifle the proceedings. Unswinging as they come. Yes I know a more big band-era like big band-ish orchestra backing probably would not have been the motto of the day in this early post-war period but I'll go on record as saying I for one DON'T like and don't dig this. Give me Mildred Bailey or Lee Wiley (to name just two white female singers) any time.

Indeed ... Another name associated with those (for once) not quite so fond memories when listening by accident and in bewilderment to the extremely MOR-housewife-background-muzak-programming on AFN FM in the mid-to late 70s. And leaving one wondering if this "Carmen" was indeed "man" or not actually "woman" (yes, admittedly I wasn't aware of Carmen Mastren yet, let alone Carmen Leggio, and the name of Carmine Appice known from different listening contexts was NOT the same name, so was no clue at that time ... ) But what would ACTUALLY make me run is the STRING orchestra. Not something I'd associate with the "swing" in "jazz" big bands. But if I ever come across this one at the equivalent of 27c I'll take your word for it that the strings aren't THAT intrusive ...

I have the '61 and '62 sets. Sidewinder's description sums up fittingly what they are all about. Personally I would have preferred full sets with British acts only (as many of these no doubt are much harder to find in other reissue forms than the US recordings would be) but the US compilations have enough material outside the "usual suspects" to make this interesting to explore too. And the 2-CD sets do create a nice atmosphere that makes it easy to imagine the club sounds for us "latter-borns" (pending objections from "those who were there" and who are still around that "it was not like that at all", of course ).

This session for the Duke label (not the one of Duke/Peacock fame, it seems) was his first leader date. It would take him another 11 years until he got his second one (for Bethlehem): You bump into him as a sideman on quite a lot of 40s/early 50s dates, though. Has the page below ever been mentioned in this context? http://www.jazzdocumentation.ch/mario/frwe.pdf

Thanks for the hint. In my quest for the obscurer obscurities from the 30s/40s/50s , I couldn't help ordering a copy of this CD online (seems to be uncommon - "never sold on Discogs" yet). Not expecting monumental wonders but looking forward to it.

Wow too. Some find! Thanks a lot! Even though fairly lightweight, it'd deserve an off-the-beaten-tracks reissue to round out the picture of what was popular then. "Savoy Is Jumpin" would be a nice and relaxed one for the dancers to gather some breath between two flagwavers.

Which one - the mickey mouse bandleader of the blues/soul man? Remember PRESTON Tucker was eventually acquitted of the charges raised against him.

Author Jim Dawson quotes McNeely as follows in his biography "Nervous Man Nervous - BIg Jay McNeely and the rise of the honking tenor sax" : "Pete (owner of Pete Canard's Record Shop on 98th and Compton) played me Glenn Miller's "Nothing But Soul", and that was it. That drum sound tch tut, tut tch, just a sock cymbal. From that I wrote the tune, just from that little introduction". BUT - neither Rust not Bruyninckx list such a tune recorded by Miller. So ....?

I saw him in Munich in the late 90s and that concert really was something else. He was amazingly youthful. I am happy I got him to sign the LP covers I brought along. RIP and thanks for blwoing up a storm.

Four of her vocals with the Raymond Scott Orchestra are on the Scott "Uncollected" (1940) LP on Hindsight (HSP-201). Some of ther singing is not as stiff (to my ears) as other big band sides I've heard of her. But "Blueberry Hil" sure had a long way to go between her version and the Fats Domino evergreen!

I think the days whe someone would reissue the complete works of Hal Kemp, for example (which might have happened in the days of these Ajax, Ajazz etc. LP series) are over. There are quite a few Youtube videos of her with old soundies and movie excerpts. Not sure if there would a be a huge market for these "straight" ballads. I also remember seeing and recording on video one Soundie that has three girl singers with the Vincent Lopez orchestra (Betty Hutton doing a totally over-the-top version of "The Dipsy Doodle"; Nan Wynn with a very, very straight tearjerker and a third singer whose name I forgot with another ballad). Nothing at all wrong with the voice of Nan Wynn but this (like those Youtube samples I have listened in) isn't exactly what jazz/swing fans have been waiting for. Jasmine might do it, considering what else they have done in that vein, but how big is THAT market after all? OTOH, maybe better than some of those Mickey Mouse orchestra girl singers trying (and failing) to swing?

https://www.dictionary.com/browse/caricature

My first Basie record ever ... bought when I was 15 or 16 (at that time that Musicidsic series was all over the place in our record shops here and above all was affordable enough for a student's budget ). I listened to it countless times at that time and it made quite some impression on me and the broadcast atmosphere with announcer 'n all made you feel like you were in front of your radio when the performances were actually broadcast.