Big Beat Steve

Recommended: http://fantasticvoyagemusic.com/wailin-daddy-the-best-of-maxwell-davis-19451959/ https://www.amazon.co.uk/d/CDs-Vinyl/Wailin-Daddy-Best-1945-1959-Maxwell-Davis/B01K8KZZ4W/ref=sr_1_3?ie=UTF8&qid=1495439597&sr=8-3&keywords=Maxwell+Davis+Wailin%27+Daddy

You've gone to the wrong place, it seems. There ARE liner notes/booklets out there that are in dire need of having their contents tidied up, but no - pride wins out, even if this pride ridicules itself as soon as those "in the know" come across the items in question. Happens with bilingual books too - and makes you cringe sometimes if you consider some of these books were done as a "labor of love" by the author, only to have some sub-par translation (or sloppy proofreading of the foreign-language version) appended to it.

Erik Tuxen? A big band leader with many aces up his sleeve, it seems, and in this capacity he was one of the pioneers of early Danish jazz ("hot dance") too. To bring things full circle, you might go looking for his early jazz sides too, then.

Amazing ... When I browse the bins (that always are in total disorder) at the local record clearout sales twice a year I always am on the alert for stacks of 50s 10" LPs and pull them out first. I've come up with quite a few goodies (mostly classic jazz and 30s swing, very, very little modern jazz) form the 10" stacks but classical music 10" LPs, including "light classics", of course, usually are quite plentiful, and some would be worth the 1 EUR (that often is the going rate) just for the cover artwork but as I am not realy into classical music you just have to draw a limit somewhere so I skip them. Had no idea these are considered finds to some by now too ... BTW, the Caceres brothers LP is nice indeed. My copy came from one of those clearout sales too.

Good to see the pros confirm this way of thinking. I guess this is the main reasoning for buying this series of box sets. I bought the Tal Farlow set for the same reason - the final three of the LPs in that collection so far have eluded me steadfastly though I was on the lookout a quite a while (and I cannot recall having ever seen any copy (least of all a reissue) of the "Harold Arlen" LP anywhere in any shop or at any fair I'd been to at the time I searched). So the box set was worth it at that price even for only 3 out of 7 LPs. Anyway ... if those three LPs show up one day at a good price I'll pick them up and this box set can go to feed the car CD player. In the meantime, it will serve VERY well as listening copies.

No, IIRC the books were on a shelf in the front space ahead of the main vinyl room upstairs. This set was inside the vinyl room upstairs, up on the top of a shelf in one of the corners (IIRC the rows of records underneath were filled with records by artists who were represented by HUGE quantities of records - Basie, Ellington, Kenton, etc.).

Folks, you make me feel doubly sorry for not picking up that secondhand copy of the Benedetti set I saw at Mole Jazz some 20 years ago (my, how time flies ...). I was more than tempted at the time but the stack I had pulled from their bins was huge enough already and while certainly affordable that copy was no steal so I figured along the "only snippets" line (that others have mentioned) too and gave it a pass ... oh well ... And now with overseas shipping rates and customs duties ... no go ...

Ah, so the grey labels now "shade" each other too. I bought the Cool Gabriels reissue CD several years ago on the Blue Moon label (a subsidiary of Fresh Sound) - on a whim (and did not regret it - very refreshing music ;)) and because I figured this was unlikely to be reissued anywhere else (cannot recall having seen a reissue of this among the avalanche of RCA modern jazz vinyls from the late 70s and 80s, for example) . As for "affordable" original copies, I may have come across figures similar to yours somewhere.

I'd wager a guess that Alden Bunn and Allen Bunn are one and the same (Tarheel Slim - see entry in Leadbitter/ Slaven). That makes them one less Bunn but that don't change much ...

John Chilton's "Who's Who of Jazz" does not mention any relationship in the entry on Teddy Bunn, although Chilton often mentions family members who also were musicians, and in fact he does mention a brother named Kenneth who played the violin. No mention of any link between them in the Teddy Bunn entry in Leonard Feather's Encyclopedia of Jazz either.

Sorry, I misunderstood this as you had asked about a book (without quoting a reference etc.) directly after my own post mentioning a book. Yes, seems very much like it. Have now started reading the book about "Cafe Society - The Right Place for the Wrong People" and did notice that mention in the opener that the appreciation of Barney Josephson's work is going to be approached in the context of his times. Way better than trying to rewrite history with the (doubtful) "benefit" of hindsight.

See below. Page 54/55 in the 1985 edition by Filipacchi. No idea if other publishers' editions have the same layout.

Well, over here I have seen the "smoke-ringy" Dexter Gordon photo by Herman Leonard in SEVERAL clubs/bars - not ONE of which was deeply jazz-connected. It was just about "stylish" decoration (maybe what the owners figured was "jazzy"?), that's all - probably also spurred by the fact that this pic had been on the market in the poster section of various gift shops. This was indeed back in the late 80s/early 90s, and while (being familiar with Leonard's work, not least of all through his "Oeil du Jazz" book published by Filipacchi in France) I liked seeing that pic there at the same time this grated me somewhat because it was obvious hardly anybody else among the usual flock of patrons in this type of clubs had ANY clue what this pic was all about.

I don't know about others out there but I for one found Ben Webster instantly recognizable. I cannnot see the point about technical shortcomings of the pic. There are pictures that are INTENTIONALLY taken that way and the blurriness or graininess serves a purpose, whereas others are "composed" - no need to belittle Herman Leonard's photographs, though - they create an aura and a feel very much of their own and DO capture an essence IMO of how the musicans saw themselves ("sharp" is the word - or one of them) and wanted to be seen. But by the criteria that this scribe seeems to apply, certain pictures by Ed van der Elsken, Hanns E. Haehl or Karlheinz Fürst (to name just a few who operated with graininess or blurriness in jazz settings) would be technically faulty too. About the intimacy and "third-class(?) citiizen" thing: Does the author actually think, by analogy, then, a white photographer snapping a pic of two white persons (celebs or not) falling into each other's arms just like that (such photographs do exist) would therefore have come up with a "first-class citizen" photograph just because he moves in "white" circles? Linking the closeness of such pics to social status in my humble opinion is BS. In short, this is a thought-provoking piece but IMO he forces too much (allleged) meaning into a pic that just documents a glimpse of a moment and can (and probably should, if the photogrpaher had his say) be interpreted in numerous different ways dictated just by the imagination of those who let hte pic act on them.

In the meantime, this ... http://archeophone.com/catalogue/ .. will have to do to approach the subejct (at least in name).

This is what's "inside" the booklet: Not sure if this provides any additional info vs what you have and know, but maybe an expert on Excelsor matrix numbers can shed some light on the likely recording date? And as for the flute, considering ths line-up I'd vote for Buddy Collette, of course.

Opposite reaction here. I already had some of their more essential recordings on various V.A. compilations, and I remember seeing this "Greatest" compilation in the record racks back tehn but shied away each time because of that garishly "modernized" 70s cover that just did not go with 50s recordings inside (there were many such cases in the 70s) . And as the Clovers were not essential enough to me at the time to want to live with that "out of tune" packaging I never grabbed it.

I've liked Johnny Depp's acting and the characters he portrayed in most of the films I have (consciously) seen of him, but this money squandering history that's made the (celeb page) headlines for some time now has made it very, very hard for me NOT to muse about the exact meaning of his name in German (those in the know will understand ...).

Very nice! A concert I'd certainly have enjoyed attending. And a gal in the sax section (and to top it, with the biggest axe)? Wow ... The UK seems to have an ongoing tradition of Kathleen Stobart followers.

R.I.P. One of my earliest exposures to his work was (unknowingly) a "soundie" (shown on TV) of the Les Brown band playing their "Billboard March" (a catchy, precision score that had me hooked). Over time I bought quite a few of his records unheard-unseen when I was on a WCJ record buying spree every now and then ... All in all they are fine, but a bit of a mixed bag to me. I like his early Kapp LPs (playing "Irving Berlin" and "Burke and Van Heusen") best and definitely get more out of those of his RCA and Capitol LPs (particularly "Campus Hop" ) that I have heard than did some scribes who reviewed him at the time. But I just cannot get into his "Love Story" LP on Atlantic. Just too sugary for me. I hang on to it to round off things (and maybe one day "its time will come?") but I know this is one where I regretted paying the going rate for a Japanese pressing. I picked up his "Prez Conference" LP (GNPS 2122) too (at a record clearout sale a couple of years ago - at a price where you just can't go wrong) - out of the same reasoning others did: I had liked Supersax in the 80s so this was a safe bet. One casual purchase that surprised me pleasantly among his later recordings, though, is "The Dave Pell Octet Plays Again" recorded in 1984 by and on Fresh Sounds (yes!). They recaptured the WCJ spirit in a nice way.

Dont forget that the name "Kuhn" exists even in Germanophonic countries - alongside "Kühn" but as a different name in its own right. So no need to suppose there "must" be an "umlaut". And if he is American it is no wonder his (or his family's) name has been americanized. This is quite natural. Just like in the case of Steve Kuhn. Contrary to Rolf or Joachim Kühn, for example, who are entitled to the correct spelling of their names no matter where they are being quoted or put into print.

Is there anything wrong (by "consensual wisdom" - by whomever ?) with the Okeh tracks? Did Earl Hines' playing slump that badly within a day or two or what is all the hullaballoo about the QRS tracks - to the exclusion of the Okehs? Or is it all about "rarity"? I've just listened in to some from both sessions and cannot find fault either way. Except that fidelity seems to be a bit better on the CBS reissue. BTW, isn't this maybe one of the cases and reasons where some might be a bit less than impressed by Mosaic's policy? Don't the QRS and Okeh tracks belong together in the discography of Earl Hines and in a thoughtfully done "comprehensive" reissue project? So Okeh was/is part of a major - fine, but would it have been that difficult to obtain some kind of clearance by whomever held the rights to the QRS or Hot Record Society (they seem to have reissued those tracks early on) masters/recordings and to those few tracks - provided they had not entered the public domain yet. Would this have been that difficult to someone "in the know" in the business?

Right .. the other 4, though recorded directly afterwards, were done for Okeh. Missed this detail. So this is why CBS limited their reissue to those 4 tracks.

FWIW, the QRS sessions were also reissued on 2 other LPs in slightly more recent times: 8 tracks are on "Earl Hines - His Piano 1928 - His Orchestra 1938" (Swing Classics ET 5) and the remaining 4 tracks (plus 2 takes each of his solo recordings from July 14, 1932) are on "57 Varieties" (CBS 63364 - No. 16 in the French CBS "Aimez-vous le Jazz" LP series): https://www.discogs.com/de/Earl-Hines-57-Varieties/master/656542 I think the CBS reissue is the earlier of the two (1973, it seems) so the Swing Classics collector's label (ferom Sweden) maybe intentionally chose exactly those tracks not included on the CBS LP (which may have been way more accessible here in Europe than the Milestone LP at that time) to complete the full run of his early solos.

That's the solution I came up with by trial and error too.