Big Beat Steve

Don't know about Asia, but over here it's also current among most any persons present on TV in situations where one just MIGHT "give them a hand" (so the give themselves a hand). What's a bit disturbing is that for decades this seemed to be a specialty of hooray parades held in Communist countries where they celebrated themselves as a matter of course and went all overboard in applauding themselves in public. And now it's common fare everywhere? Don't they see how ridiculous they very often look in doing so?

:tup !!

Well, you asked for it ...

Following a request by MG in the "What have you learned ..." thread : Here are some showing kids in various settings for a starter (sorry about the quality of some pics, lighting wasn't quite up to snuff where i had to shoot the covers):

Maybe because that is not sophisticated enough for their (self-perceivedly) fine tastes? For a cure, send them to a Keith Jarrett concert.

Diz with Earl Hines too.

Indeed. 21st century puritanism, tabooism and P.C. rear their heads, you know .. As for Wagner, his antisemitism is common knowledge by now, isn't it? And indeed the other day there was a brief feature about him and - lo and behold - his HOMOSEXUALITY in the cultural section of the local paper here. A subject that seems to have been investigated before, BTW: http://www.amazon.de/Richard-Wagner-Homosexualit%C3%A4t-Walter-Fuchs/dp/3845720182 Which seems to bring things full circle. Or does Wagner all of a sudden rate among those who need to be hushed over in this part of their private lives too? Him who has already been dissected in a zillion biographies and historical essays? Setting up more do's and dont's of what "one" is supposed to write about, thereby preselecting what the audience is to be informed about? After all nobody is FORCED to read about those things that are of no interest or concern to them anyway. (I for one couldn't care less about these topics but I cannot see why they should not be discussed or analyzed) Public persons (personalities) are public persons after all. Always have been. The price (one of them) of success.

Sounds like these covers would have qualified for this thread: I have a faint idea of which LPs you are talking about. Pretty out of tune indeed.

More Dex:

Was immediately thinking of "Exploring the Future" when I saw this topic but Mike beat me to it. So the one below willl have to do for now:

Most 70s/early 80s NON-facsimile reissues of 50s LPs would EASILY fall into that category (of covers that were an UTTER disgrace to the original ones). Will pick a few within the next few days and post them here.

Yes this is a pity and a bit of a shock. Not only because he is a wee bit younger than I am (so this makes you realize how the clock ticks ...) but also because his Sporano character (from what I have seen of that series here on TV) was something special. It isn't very oftenyou see those TV series that make you realize "this actor seems to be tailor-made for that role" (instead of just being another case of "actor X plays himself in series Y". Maybe the fact that I cannot consciously recall having seen him very often anywhere else here on TV helps in that assessment ...

According to the track listing this "Thunderbolt" CD is a combination of the above "Thunderbolt" LP (KK 778) and of part of the Buddy Tate/Frank Culley LP "Rock'n'Roll - Instrumentals for Dancing the Lindy Hop" on Krazy Kat KK784 (a slightly expanded reissue of a Baton LP). The Haywood Henry track and 2 of the Al King sides were omitted from the "Thunderbolt" CD (and one Warren Lucky track was added).

Very interesting list indeed. But could it be that some books are not so new at all but just reprinted and/or revised/enlarged (and not credited as such in the text)? My copy of "A Left Hand Like God" is a good 20 years old (and I don't really feel like upgrading). As for books one would have liked to see covered/reviewed (if in brief), I'd have liked to see his stance on this: Big Easy Big Bands - Dawn and Rise of the Jazz Orchestra by Eddy Determeyer

Great lists, MG! (And great aditions, particularly those by Paul Secor) What more to add? Just some thoughts: You mentioned BIg Jay McNeely and Joe Houstons among the typical honkers. In the same vein, no appreciation for Chuck Higgins? Along with Gene Ammons and Arnett Cobb (whose R&B output would have qualified them), how about Jimmy Forrest in his early "Night Train" years? And Leo Parker straddled the fence towards R&B at times too. And how about Sam Butera (though he was white)? Then .... Charlie Singleton Charlie Ferguson Marvin Johnson Lem Johnson Haywood Henry and ... Sax Mallard!! I don't know Warren Lucky or Al King, Paul. Please tell us about them. MG Check out this: They're on it. Fierce!! http://bebopwinorip.blogspot.de/2008/03/warren-lucky-al-king-and-haywood-henry_12.html Word!

Well, Lover Man and Diagram also are on the "Cool Europe" EP (MGM X282 (US) or MGM EP535 (UK)) but I suppose this not what you are after. They also are on the Fresh Sound reissue mentioned in one of the first posts ni this topic above. But to my knowledge that's it (though I find it hard to believe that the remaining two have not been reissued elsewhere), and if you check out the above NYC Jazz Record Review for the "Jutta Hipp with Joki Freund 1954" (Jazzhus) CD, while this draws from the L&R recordings that the MGM releases also come from, they are not included on that reissue either: See here: http://www.groovecollector.com/mp/jutta-hipp-with-joki-freund-1954/r/115562285/ At least that's what I have come up with. Maybe "Brotherly" is another one that went under another name on other L&R reissues?

How come Chewy hasn't weighed in here yet? :D

Thanks for your kind words, jazzbo. But may I humbly point out that I have no track record at all in educating (not in the literal sense of the word anyway and I am in no position to "educate" others here either . So I cannot take any credit in that field. And I am the first to admit that the more I read on this board the more I realize there is more and more I am not familiar with yet, even in my favorite fields of the music. As for the rest, I've tried to clarify my point so I rest my case. Let's just say THAT page is turned now for me, so "to each his own" (courtesy of Livingston/Evans ).

I take it that the David Meeker document linked by sgcim above has been HEAVILY expanded over his book "Jazz In The Movies". I bought the "New Enlarged edition" (1981 printing, DaCapo) of this book a while ago secondhand and while i did not regret my purchase I must say I was a bit disappointed by the balancing of what movies with jazz credentials he included in the book and what he didn't. His coverage of soundies and shorts from the swing era seemed to be a bit unbalanced (some were in, some weren't, though for the life of it I could not discern any criteria by which one would have warranted inclusion and another one wouldn't) , and I drew a blank with several swing-era movies (both shorts, B-movies and "all-black cast" movies) that were not all-out jazz movies but featured memorable jazz scenes and band appearances within the plot (and not to a lesser degree than many of the later movies he included in the above book that featured only relatively occasional modern jazz appearances or jazz scores within the film - and his entries in some cases even stressed that there was only some slight jazz content). Afterthought: Just checked the online pdf file of the new opus, and while it really has taken on colossal proportions, just a case in point: I cannot find the movie "Juke Joint" of 1947 in there. The music scenes featuring the Red Calhoun orchestra are on Youtube (so seem to be circulating among fans - and the movie itself is listed on the IMDB) and they are a gas! But very, very nice to have this online source available anyway.

OK, I had meant to let this rest (despite the fact that the reply to my post seems to have undergone several mutations ) but so I will weigh in one last time (thanks, Paul and jazzbo, for your comments, BTW - you got me right) in an attempt to clarify this: 1) About that "appreciation": Assuming that pointed reactions do occur and just might have to be reckoned with in certain cases, what reaction is there to be expected to a post that reads like it is all about box sets that are all out to be sold for good money (a point that is stressed several times in the post) but the owner/seller doesn't even remember what they are? So what I said about "appreciation" purely and simply and exclusively referred to the way the appreciation OF THOSE PARTICULAR SETS (and hence of the music contained therein) COULD have been conveyed in such a post as a matter of course by stating offhand which ones it is all about. Not least of all, one should think that this information might have been useful so as to yield more specific replies as to what is likely to be a particularly well-selling item. Nothing more. 2) I just speak for myself. Never pretended (nor aspired to) anything else, and never would. Cannot see where I ever hinted at anything else. So any insinuation in that direction is what is really off base. Nuff said ... (And, Jim R, I certainly did not intend to be rude or condescending but yes, I do speak my mind - including on the subject of "investments for investments' sake". )

In fact you do. Just sayin ... Maybe it would be a good idea to get your selling venture going by raising your appreciation of the music (and of what you have that is supposed to be such a good investment) by actually finding out what you have. Not least of all because I understand there is some margin between sets that some would kill for and sets that are just nice to have. As for where to sell them if you want to wring out the final, the very final bit of money, well, not here apparently ...

That's the"Cool Dogs & Two Oranges" content that is NOT part of the reissue from the Blue Note 10in LP. Or to sum it up another way: Essentially the 50s MGM and Blue Note releases made up the later reissue on "Cool Dogs & Two Oranges" on L&R. Mike Nevard is a separate (co-billed) act on that MGM vinyl - no connection.

How come? I've noticed around here too (not only in more professional big bands of today that you hear in any sort of setting) but also among high school bands that the scores and the general sound are very, very brass-laden. Even when they want to play jazz. And this has been so for decades. The brass seem to carry the sound any time. As if there never is any shortage of competent brass players whereas the reeds ... Maybe I'm one to notice this particularly soon because I'm quite tuned in to the more reeds-oriented swing-era big bands (not that I wouldn't like "progressive" 40s big bands just as well) but still ... It IS strange ...

Not if you regularly came across the entire L&R record catalog in your jazz bins in the record shops when these LPs were current. They often had this kind of play on words.