Big Beat Steve

Why is this topic OUTSIDE the music section? And how about some nicely non-P.C. 40s/50s stuff? "Explicit" (what an EXCEEDINGLY puritanly silly term in ANY era!) lyrics were not limited to the 20s AFAIK and in a way seem to have been just as revolting to the sedate set in the post-WWII years (witness the crossover of the music to white listening audiences - and the reactions by the teens' elders - when R'n'R was born ). Some of the more obvious ones: http://www.youtube.com/watch?v=W19KDTz6iVE and so on ... BTW, as for Lucille Bogan's Shave Em Dry, the respective chapter of Paul Oliver's "Screening The Blues" would make for VERY interesting reading and for more versions of that song.

My point is that the Jutta Hipp CD was already discussed last fall. Plainly and simply. Just a statement of fact. No totally unlike all those other threads here where a topic that had already been discussed in another thread in this forum was invariably linked to (maybe - a bit understnadably IMO - to avoid atomizing related discussions in a zillion separate threads). Like it or not.

Not quite so new. Thsi label has been discussed here:

OMG, JSngry, where did you dig out these abominations of the type we had to wade through in so many record bins in the 70s (and even today in used record clearout bins)?

I think we misunderstood each other. What I meant to say was that I realize those Rischka LPs were very rare but your statement in your post of 3 May that European jazz LPs had such small pressing runs (which no doubt basically was true but cannot be generalized IMO, at least not in the case of German 70s jazz) cannot have been that true in the case of Dauner's OTHER 70s Eurojazz LPs. Because, like I said, "Knirsch" und "Oimels" (and probably others) were all over the place wherever you looked in the German record shop jazz sections throughout the second half of the 70s (and beyond). Same for other German jazz releases from that period (and I am NOT talking about Doldinger's Passport, of course ). (I know - I VERY often checked out the entire "German jazz" bins in search of specific Telefunken a.o. reissues in those years but to no avail - only found them secondhand much later - and therefore remember having to flip through countless 70s German free/fusion etc. jazz releases in those bins ).

Agree about Adrian Rollini, but talking about bass saxists form that era, I think Joe Rushton was no slouch either.

Strange about Dauner, though ... I cannot recall those "Rischka" LPs at all, obviously, but remember seeing "Knirsch", "Oimels" and probably one or two other of his early to mid-70s records in the "Dauner" bins of the jazz sections in our local record stores for AGES throughout the second half of the 70s. Never bought any of them because I wasn't into that stuff but his records sure were all over the place. (Or was this that much of a local thing in his hometown?)

Weren't Wild Root the ones that sponsored Woody Herman for a time? (Hence the title he recorded) As for "Tavern In The Town", suggest you listen either to the Bar-X Cowboys' recording of 1937 or to the one by Leonard Feather's "Ye Olde English Swinge Band" (same year). That should brighten things up. Re- hair grease, in my teen/twen/student days I used to take our local brands (sold in tubes) on specific occasions: "Brisk"; "Fit" or "Flott".

Not wanting to discourage you, but looking up the track listing in the discographies and imagining what the title of the LP might hint at (not that rare to see this term used in that era), to me this sounds very much like one of those "mood music" LPs that were turned out ever so often in the 50s featuring sax artists that you normally associate with much meatier and grittier material. Sam The Man Taylor, for example, did several like this. I'll be glad to be proven wrong but somehow have my misgivings.

EURO-JAZZ, which always equals a very keen group of Asian buyers and collectors on hand. And the seller in this case is one who knows his stuff (and the scene) inside out. So there MUST be a market. I understand, though, that this CTR release is supposed to come with the cover below. So ... that price for one without a cover?

Look .. all I wanted to point out that we are talking about a VERY elusive NON-COMMERCIAL pressing (see above) where - life being what it is - there just might be cassette copies floating around (or some good soul maybe share their good fortune of owning that LP and let somebody else listen in). This is NOT about some seedy grey or black market bootleg release that undermines the work of other, more deserving reissuers that did all the hard work with making a recording available (again) and where you can rightfully frown upon piggyback riders who want to cash in on it by doing COMMERCIAL unauthorized reissues. I can perfectly well understand that in such cases of reissue ripoffs a line has to be drawn and such shady practices should not be endorsed by mentioning, linking or advocating them here unduly in public, but does the above timid question voiced by the thread starter really fall into that category? I don't really think so.

Ah c'mon ... No doubt a CASSETTE copy (for strictly private use), for example, would have been quite sufficient for the thread starter ... Just for curiosity's sake to listen to the music of a NON-COMMERCIALLY released (see link above) platter. See, everybody, why I did not want to become a mod?

And I just noticed I was wrong about the Fresh Sound CD of this Reese Markevich LP. It is in their catalog - BMCD1608.

Actually that Reese Markevich LP has been around on the reissue market for some time. Fresh Sound did a facsimile reissue LP in the late 80s. No idea if they ever followed up with a CD when they started re-reissuing their vinyl catalog on CD (it's not in their curent catalog). (corrected - see below)

I am very honored to see me mentioned but I just have to decline. For one thing, there are many threads that I simply do not follow, and there are limits to the time I spend (and can spend) on this forum anyway. Besides - believe me - I decline because I know myself and how I can come across, and at times I can be confrontational, maybe too much so. I try not to exceed certain limits but I do like to speak my mind, and I am afraid by the standards of this forum (which quite naturally is U.S. in spirit after all) I am definitely not P.C.-ish enough. So - thanks again, but sorry, I can't - it's better that way, I am pretty sure.

Well, listening to the vinyl and CD reissues, I think they did there ... But how could you have "joined up" a 13-minute tune on 3-minute 78rpms anyway? You had to cut somewhere. After all this was no studio recording where they used fadeouts between Pt1 and Pt2 or whatever ...

Don't confuse the Sextet with the big band. Charlie Christian was the B.G. SEXTET guitarist, not the (regular) big band guitarist throughout. According to the discographies, he just appeared (as "featured artist"?) on part of the big band recordings on some sessions and live appearances. Mike Bryan was the regular big band guitarist through a good deal of the "Christian period" (from the fall of 1940), and before that (mid-1939 to April, 1940), the discographies list Arnold Covey (Arnold Covarrubias) with the big band. From July, 1941, one Tommy Morgan is listed as the big band guitarist, as he also was part of the Sextet in the October and December 1941 sessions. Dave Barbour is listed with the big band from June, 1942, and Allen Reuss recorded with the orchestra and the quartet and quintet from June, 1943.. Mike Bryan was back with the sextet and big band in 1945. As for Billy Bauer, he is present in the B.G. discography only in the Sextet/Septet/orchestra recordings of the Gray/Hasselgard period band of 1948. A LONG time after Charlie Christian's demise.

To be more specific: What Is This Thing Called Love (excerpts issued as Unfinished Bopera) Perdido (excerpts issued as Wild Bill) Merry Go Round Blues (unissued) Blowin' For Bass (unissued) Am just trying to make up my mind now if I'm going to make it hard on myself and listen to the music piecemeal (like they did way back...)

So ... where is this available as a DISC rather than just an mp3 download (as shown on amazon here)?

So the definite word is that there never will be Vols. 2 to 4 of "Really The Blues?" ? Pity ...

I like Donahue (very much so) and I like Montrose but unless one went into dissecting the music to bare bones I cannot quite see the very direct and immediate connections that would be evident to the listener (as opposed to "analyst"). There is a stylistic divide betwen them after all. The Donahue band has that distinctive "modernistic" edge of mid-40s swing big bands that shows the things to come and gives the band that special "bite" but the music still is rooted very firmly in the swing idiom. As for its general appeal, IMO more like a case of the modernized Krupa band or the Rich band of that time (or of the forward-looking charts of mid-40s Dorseys) than the Thornhill or Raeburn bands, for example. BTW, the Capitol studio recordings by the Donahue band are worth exploring too. In some cases you wonder if not only the charts but even the recordings found their way into the Navy band" reissues.

:g A Shoebox Ford. Nothing new under the sun. BTW, unless that car has been tampered with (or modified, to put it more kindly), this is NOT a 49 Ford but a 50 Ford (front flashers/indicators are noticeably different between both models and the ones seen here are the 50 version). "Where do you buy tires" (or most everything else)? Like ... here? http://macsautoparts.com/1949-1959-ford-mercury-passenger-car-parts/camid/F50/ca/146/ or ... here? http://www.shoeboxford.com/ or ... (reading Hemmings or googling helps) (No, I am not an expert on them, but having 2 or 3 of them in one's own wider circle of old car buffs teaches you things ...)

Too bad I won't be able to see that exhibition. I have fond memories of my own visits in my very early record buying years to Dobell's during 2-week stays in 1975 to 1977 (at age 15 to 17). The treasures in Dobell's two shops of course were a revelation to me as a budding collector (as were other shops still in existence in London then, of course), and with hindsight, no doubt any questions I may have asked in an attempt to make best use of my slim funds for buying records were not likely to have been THAT informed but I cannot recall ever feeling rebuked there. I guess I was just too overwhelmed by the sheer mass of goodies ... But who knows ... maybe I made good in the staff's eyes when I bought the Cyril Davies LP on Dobell's Folklore label there (after having read about it in a book on "British Beat" purchased in London the year before ...) That Bruce Turner excerpt is great! Was it ever relased anywhere on record?

He recorded with Carmen Leggio in 1979 and 1980.

Just for curiosity's sake: A question to those of you who have this record and have it on hand: Which pressing do you have? (Note differences of label and back cover address) This one? Or this one? Any experts on the RKO Unique label in the room who might be able to shed any light on what these differences mean? (chronology, etc.)