Big Beat Steve

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.

This was one of the mistitlings I was alluding to in my post. Bruyninckx indiactes both spellings refer to one and the same track and recording and he lists the "Chloe-Patra" version specifically for the L&R LP.

Depends on the language you wish to speak with a French accent ...

This IS difficult indeed, mainly because some titles were recorded several times and some were mistitled here and there. And dates HAVE been mixed up From what I recall offhand (and what seems to be confirm the above), most of the Blue Note LP (6 of the 8 tracks I believe) are on the Cool Dogs & Two Oranges LP (on the L&R label). The "Lost Tapes" recordings aren't all lost. There are a couple of releases (two on the LP and a couple more on the extra tracks on the CD) that were originally issued on Brunswick (some originally credited to Hans Koller IIRC). But they don't duplicate the Bue Note/Cool Dogs.../Fresh Sound releases as far as I can see. As far as I can remember the "Das is Jazz" LP (I have the original at home) again includes the odd Jutta Hipp track from those Brunswick sessions that were originally released on EPs in Germany. Can check later but I think David Ayers has answered the gist of it all perfectly - so these few lines just to confirm what he says and what I'd found out by checking for myself some time ago. BTW, kudos for that excellent review, not least of all for pointing out that German jazz did NOT start with Schlippenbach, Brötzmann, Mangelsdorff (Albert, that is) and their ilk. Far from it. And the earlier ones weren't all "derivative", as DB would have been wont to say ... (at least not more than a good deal of the US output of those days too)

He did play with Paul Butterfield's band. and Little Milton, IIRC, v. early on. What I meant to say is - whatever he did - does this qualify him as one of the BEST EVER in that particular idom? Of all times? Right among the greatest of the great? Somehow I doubt it. Just look at all those really great R&B sax men (leaders and session men alike) who came up through the decades. This sounds more like some PR blurb like they come up with in those "all time great" histories published for the not to historically aware public where out of 100 pages maybe 20 or 30 pages are devoted to whoever was great up to maybe 10 years ago and the remaining 70 or 80 pages are reserved for those who are "great" right now. And this kind of skewed PRESENT-DAY perspective disregards the fact that there were many more who were just as great in THEIR day and who were not forgotten any quicker than those who are perceived to be bigshots now are fairly likely to be forgotten 10 or 15 years from now when their heyday will be over.

No harm or no offense meant. Opinions and tastes differ, you know ... (And of course I suppose you realize my "atypical" reference of Sam Most's Bird, Bud, Monk & Miles LP refers to the fact that it is a NON-flute item? )

I've never been one to like flutes in jazz, find it difficult to stand Bud Shank on flute (though I consider myself a bit of a WCJ fan), can only digest some very early Herbie Mann but found the Bethlehem LPs by Sam Most always very, very enjoyable. Don't know how representative they are of his later work but his "clarinet-esque" (?? don't know how to describe it otherwise) flute work on the one where he alternates between flute and clarinet always was right up my alley. And his Bird, Bud, Monk & Miles LP may be atypical but is fine anyway IMO. RIP

Sounds like a Johnny Smith vs Tal Farlow partisan feud might be in the air as for "guitar chops". Anyway, RIP Mr Smith. Here's another one who's appreciated your music (though admittedly I've pulled out my Tal Farlow Verve albums far more often than your Roost LPsthrough the years)

"Sanborn, one of the best R&B saxophonists of all times ..."?? Yikes! :excited:

Can't recall having ever seen any CANNED wine in shops in Germany, at least not in the usual outlets. Maybe marketed as a sort of gimmick here and there, but beyond that? Wine marketed in TETRA-PAKS has aroused a lot of consternation here when first sighted (though probably not as much as in France, I guess). This has subsided long since but wine sold in Tetra-Paks but has definitely retained a "low-brow"/"cut-rate" image so if THIS is how they want to "democratise" the sale of wine?

Above all it doesn't look particularly Hepburn-ish to me at all, rather like some typical nondescript late 60s-ish selling gimmick using models in what was perceived to be fashionable (and was not unlike the garb worn by certain TV show ballet dancers where orchestras such as this one would often provide the background music) but dated pretty badly and soon was an eyesore in the cut-price bins (and still is today when you have to wade through album cover dross like this in secondhand vinyl clearout sale bins as this kind of cover hasn't even become "cult"-ish enough yet to attract the attention of "easy listening" collectors ).