Big Beat Steve

DD, sems like you haven't come across any American yet who more or less accused you of robbery, larceny and mugging in one generalizing swipe as soon as you asked him/her to provide you with their bank account details so you can send them a bank transfer of the kind you correctly described. It's been a couple of years when this happend to me more than once on US eBay. They must have thought I wanted to rob them of all their worldly goods by merely SUGGESTING that they'd give me their bank account number so I can SEND them the money due (bank fees borne by me, BTW). (Actually I did send international bank transfers occasionally in the 80s and early 90s to the US and to Australia when there was no such thing as Paypal and no fee-less IBAN yet either - and it worked, though the bank fees were to be reckoned with, but US eBayers in the 2000s often just balked) (No, and now don't ask me about what all this old-fashioned cashiers' check vs personal check matter is all about. Checks have largely been a thing of the past for some 25 years over here by now). BTW, I do find Paypal convenient too. In my early eBaying days in the early 2000s I even used the Western-Union-related Bidpay system occasionally (as some US eBay sellers insisted on THAT, probably because they'd be given a CHECK for the amount due and wouldn't have to fuss with bank account transfers ) and it always worked fine, Though I later on came to learn that Western Union transfers CAN be a scam.

This also might be an explanation for the missing cover (though this is a wild guess and I do not have any definite proof). Back in those days it seems to have been customary in Germany to issue promo copies (e.g. to radio stations or wherever ..) without the actual covers but in neutral, white covers. During my fleamarket rounds through the years I bought a couple of late 50s 10" jazz LPs as German promo pressings (on the Mercury and Odeon labels - Odeon being German Columbia) that came in recycled white covers (and I have seen quite a handful more of these white-cover promos that were of no interest to me). Looking inside the covers you can see the front cover of the actual LP cover that they had just turned inside out and recycled for these promos, with a center hole punched in the cover to show the label. OTOH these LPS do have white promo labels - which is not the case of that BN LP.

On the German Liberty pressing of "Orgy in Rhythm" that I have the "Made in Germany" stamp also is a lot deeper than the "RVG STEREO" stamp (in fact the "STEREO" is just barely legible).

I am no expert at all on the finer points of the various pressings of BN LPs (a science unto itself, isn't it? ) but I did a quick comparison anyway. I have the two Art Blakey "Orgy in Rhythm" LPs as German Liberty stereo pressings inside a US LIberty jacket (combinations that seem to be not so rare, i.e. using up jackets form one source for vinyl from another). If this is a boot of fake then whoever reproduced the label did so with extreme diligence as the fonts and even the minor grammar errors of the copyright statement round the edges of the genuine German label were duplicated very acurately. I cannot judge the colors as the digital photos might falsify these anyway. And the catalog numbers are pen-engraved in the dead wax of my LPs too. However - the RVG in the dead wax of my copies does not read "VAN GELDER" but "RVG STEREO". Have both texts been documented for real by the experts?

TV series??? Concert series, rather ...

Unless there are several surviving versions with an intro talk by "The Stomach That Walks Like A Man" - yes.

I am not sure if this can be called a "reissue" in the proper sense of the term. BCP-6 was released by Bethlehem (as a sort of second pressing, I'd say) back during the period in the 50s when everthing shifted from 10" LPs to 12" LPs. So they used these two sessions to fill one 12" LP. I don't think the Burke session ("East Coast Jazz No. 2" - originally on BCP 1010) would have been forgotten all the way. It was reissued as a facsimile LP (though in 12" format) by Fresh Sound in the 80s. Measly playing time but nice and well-presented reissue - and full sound. And at the same time the Pettiford session from BCP-6 (originally on BCP 1019) was coupled by Affinity in the UK with the Pettiford 10" session from BCP 1003 on the "Quintet and Nonet - Oscar Rides Again" LP (AFF 160).

+1

I'd second the recommendations by sgcim and jazzcorner (I have all the albums mentioned except "Strings Jazz"). Burke (with Costa again) also is on another album by Mike Cuozzo: "Mighty Mike Cuozzo" - Savoy MG-12051 And he also was a key member of the Marian McPartland trio (see reissues on Savoy).

@BillF: Judging by that other thread linked above, I was under the mpression you had bought a copy back in 2011?

OK, so here are a couple more from that tour: A nice pic from the reception at Bromma airport where Charlie Parker was welcomed with a bouquet of flowers which touched him very much. From left: Charlie Parker, Roy Eldridge, and Rolf Ericson behind the two. The initial idea was to have the entire Arne Domnérus-Rolf Ericson band accompany Parker but in the end he just wanted to use Rolf Ericson - who did not have an easy job keeping up with the terribly high tempos. Parker did not get many moments of rest as the Swedish musicans kept asking him lots of questions. Here is a snapshot from the hotel room with Gunnar Räjarn Nyberg, Rolf Ericson and Yngve Akerberg.

No idea if the jokes that made the rounds on the social media are the same in the US too but one that is circulating here at the moment is this: "With all the hording going on in France, the shops have run out of red wine and condoms. With all the hoarding going on in Germany, the shops have run out of noodles and toilet paper. Now what does this tell us about ourselves??"

True enough and a fair criterion to be taken into account (that needs to be pointed out to many who approach such historical discussions with the blindness of hindsight ) , but at any rate the Swedish (modern) jazz scene of c. 1950 was second to none in Europe. On the whole the UK most certainly was not more inventive/original/creative/accomplished.

I have a single LP of these Swedish recordings (bought way back in 1983) so maybe your double LP includes the full tracks without any parts missing? (Must check that out eventually ...) As for the soloists, I mentioned those that liner note scribe Lars Werner indicated as having been edited out (he described these solos as "good but too long") but I haven't listend to the LP in a while so cannot say offhand to what extent the musicians ALL are "together". And as a simple listener I may inadvertently cut them more slack for this kind of jam session than a musician would.

@BillF: Sure, Bird towered high above the "rest" of most others but above the rest of many, many hack US jazzmen too. Anyway ... Greenberg, Theselius and Ericson cerainly weren't "relatively minor" players overall. Not any more minor than many UK jazzmen from the Club 11 and Ronnie Scott club stable of that time too anyway. Still these "minor" players all made their welcome contributions. And documented jazz ought to present the whole picture to the extent that it exists.

But Benedetti was an extreme case. Regrettably ...Solos without context are for geeks or maybe for extremely zealous musicologists but elsewhere ...? I have a Storyville LP pressing of the concert and jam session recordings Bird made during his tour in Sweden in 1950. It wasn't edited THAT heavily but anoyingly anyway I am no sure if I am to consider this a favor for the listener or an insult, but liner notes scribe Lars Werner (a musician himself, and not the least figure in Swedish jazz of the 60s) explicitly stated that he cut out all the piano solos - by Gösta Theselius - no less (allegedly because the piano was too poorly recorded), and in "Body and Soul" he cut out solos by Rowland Greenberg (tp), Gösta Theselius (ts) - who certainly were no slouches either - and Lennart Nilsson (p). And besides Nilsson, Rolf Ericson (tp) had his solo cut out from "fine and Dandy" too. OTOH the INTERACTION between Bird and all these musicians would have been fascinating too (particularly considering the contemporary jazz paper reports of the jam sessions and how they propelled all the participants to creative heights in the company of Bird). Not a very satisfactory approach, particularly since the original recordings DID included everthing as it seems ... Even Bird idolatry can go too far ...

Anson Weeks' singer?

The Horst Jankowski jazz records to go for are his EPs for Brunswick (1957) and Telefunken (1958) (chamber jazz with classically influenced overtones, though not excessively so), his EP "Jazzing in Stuttgart" on Manhattan (1957, also issued as "Jazztime Stuttgart" on the Bertelsmann record club label) and his 1961 "Gäste bei Horst Jankowski" (Guests at Horst Jankowski's) LP on Metronome (never mind what Bruyninckx says - the LP was not on the Saba latter-day cult label but on Metronome). "Gäste" is more modernistic - with shades of late 50s Basie and "Euro hard bop". A cult LP around here as one of the tracks (his version of Basie's "Cute") for a long time was the signature tune of a radio jazz show here. The Telefunken EP was reissued (along with EPs by Fatty George and Michael Naura) on a Telefunken LP you sometimes still can find at a good price in the secondhand jazz bins: "Jazz in Deutschland 1957/58 - Kühl und Modern" (as some may have guessed there was a "Hot" volume featuring Dixieland bands from the same period too). Strangely enough I had never been able to find a copy of these in the record shops after those reissues came out in 1976 so had to buy my copies several years later secondhand in those pre-internet days. Another one to go for, maybe, is the "Tony Scott & Horst Jankowski Trio In Concert" CD released many moons ago on the (Dutch) Point label. It features concert recordings from teh festival in Ljubljana (Yougoslavia) in May. 1957. I made a point of rounding up those early LPs and EPs (it took me a LONG time to find a copy of the "Gäste" LP after I had finally heard it at a neighbor's home in the early 80s, and then, of course, as was bound to happen, a second copy ended up with me not soon after I had found the fiist after some 15 years' searching ) but was never moved overly by all his Saba/MPS/Mercury "Black Forest", "Sleigh Ride" et al. records, on the one hand because they had been doodled and noodled to death as MOR background mood music on the radio in the 70s (when I started getting into jazz) and has soundwise connotations for me that just do not quite suit me. On other hand because those "later" Jankowski LPs for the very most part are priced in silly regions considering what they are and that they are not that rare in secondhand shops (so there still must be a market for them - probably "cult" records to some). I have kept half an eye on the Jankowskinetic LP, however, but am not pressed and therefore waiting for one to come up at a "steal" price.

Nice LP, nice and thoughtful way to fill a gap (for those interested in such details, the cover artwork duplicates that of the original Carisch EPs). I was pleased to see LP it in the shop at the time and of course immediately picked it up. But you might get some crossfire here from certain forumists who'd sniff at this label (connected to the Official label known for its plentiful R&B reissues) as it was a somewhat "grey area". (Well, in fact at least in this case they resurrected an item that had fallen into disuse. Carisch at the time picked up this session recorded by Gigi Campi for his own MOD label, but as the label folded the items were "orphaned" and ended up briefly at Carisch but never got wider circulation. )

So this is Rostasi the forum member, then?

If he signed it like this then that was a FAKE!

My fault actually. I had meant to link to another (fairly recent) DB Record Reviews topic here on Organissimo (one where you posted too IIRC). Re- the publisher of the Bielefelder Jazz Katalog, "Motor Presse" were the third publisher (at least). In 1981 it was a publisher in Nuremberg.

The facsimile reissues of the original Aladdin LPs (LP801 and 802) that were reissued by Pathé MArconi (EMI) in the mid-80s were very nicely done, sounded fine and kept that inimitable "period" touch.

Manfred Scheffner was a key figure at the Beck jazz department in Munich but Beck wasn't the publisher of the "Bielefelder Jazz Katalog" (for non-Germans: This was/Is OUR better-sorted "Schwann" or "Jazz'N Pops" ). The publisher changed several times and the catalog has been online for a couple of years now according to a Google search I just did. These catalogs are an excellent refernce tool, particularly once they introduced the three different indexes you mentioned (this started with the 1974/75 edition - previous editions were strictly by artist A-Z and then some subcategories in the Various Artist section). The 1975/76 edition was the first one I bought (new, when I started buying and collecting records) and along with the 1960/61 edition (the second one ever published) that my mother passed on to me at the time this was a priceless source of information in my early days of discophile. I bought subsequent editions every couple of years to to 1994, and though the catalog never was 100% complete (some distributors or companies just could not be bothered to supply their release lists each year) these older editions never date and still are very handy even after all these years to check up on reissues from a certain period (half for the fun of it and half for reference reasons I actually bought about two thirds of the 1959/60 to 1973/74 editions later on too). Of course in the time of Discogs etc. they have become less essential but they still serve their purpose. As for your latest post (my, this topic sure is getting out of hand! ), re- the DB Record Reviews yearbooks, this thread should cover that particular sub-topic with all the essentials:

The two Jazz Lab volumes not listed on Discogs are: - Vol. 2 - Ralph Burns Orchestra (MCA 6.22173 AK) - originally released as "Jazz Studio Five" - Vol 10 - Chico Hamilton Quintet (MCA 6.21808 AK) - originally soundtrack music from "Sweet Smell of Success" (Search me why these numbers preceded the numbering of Vol. 1 and the rest )