medjuck

I'd like to see the complete Shelly Mann art the Blackhawk in chronological order a la Bill Evans at the Vanguard. It would only be 5 cds or maybe could fit onto 3 cds for a select.

I'll forgive them a lot because they reissued "The Genius Hits the Road" with seven interesting extra tracks from other sessions (about which they don't seem to have much information). I bought the Lp when it was new nearly 50 years ago and it was the first Lp I ever had stolen! It might have been available as a cd briefly before this but I was never able to find it. My wife walked by as I was playing Mississippi Mud and commented "He makes everything sound better doesn't he?" Actually one of the extra tracks is a version of The Long and Winding Road that has a string arrangement so bad even Ray can't cut through it. Makes Phil Specter's arrangement seem austere.

Me too.

Happy B'day and many more!!!!

Martin Williams makes a similar observation about Bird-- though of course one would never describe Bird as infantile. He writes of Bird's approach to music contrasting it with his personal life: ".....perhaps in that life he did live the negative side of his self-determined musical persona. What saves one from the ultimate, implicit self-destruction of heedlessness is ... knowing the consequences and effects of one's actions, and taking responsibility for them. In any case, heedlessness was not a part of Charlie Parker's music." I'm sure there are musical geniuses who are also geniuses at living an orderly life, but none come to mind immediately.

When Jack Chambers had his Miles bio re-published in one volume the new publisher (Scarecrow I think) wouldn't allow him to revise it (it does need revision) because they wanted to use the original type-setting. He only got to write a new introduction which dealt mainly with the last years of Miles's life.

Are you Canadian, "eh"? Yes, even the 2nd edition of the Monk discography doesn't seem to distinguish between the 2 pianists. On the other hand I have a Don Byas cd entitled Midnight at Minton's that has 2 tracks presumably with Monk that aren't in the Monk discography: "Uptown" and "Body and Soul". Is there a source for the correct discography of early bootlegged Monk? (Or maybe the book under discussion which I'm about to order has one.) Kelley's book doesn't have a discography, just a list of selected recordings. Anyone have a suggestion as to where I might find the correct information?

Yes, even the 2nd edition of the Monk discography doesn't seem to distinguish between the 2 pianists. On the other hand I have a Don Byas cd entitled Midnight at Minton's that has 2 tracks presumably with Monk that aren't in the Monk discography: "Uptown" and "Body and Soul". Is there a source for the correct discography of early bootlegged Monk? (Or maybe the book under discussion which I'm about to order has one.)

In his "Inside Be-Bop" ("Written by America's No.1 authority on Be-Bop" it says on the cover of the 1949 edition I found somewhere) Leonard Feather quotes Kenny Clark as saying Bud Powell "used to do all the things Monk wanted to do but couldn't. Bud had more technique; Monk was a teacher, a creator rather than a soloist." Feather was never exactly a Monk fan.

Are there any extant recordings from Minton's or Monroe's that display Monk's uniqueness. I've always been surprised that on the recordings I've heard that claim to haves Monk on piano I've been unable to recognize anything very "Monkish".

And many more!!!

I suspect that Miles and Troupe used the Chambers book to prod Miles into remembering things. At times Miles complains about mistakes in bios and used examples found in Chambers but at other times virtually quotes him. Chambers wrote a funny review of teh autobiography in which he said something like "sometimes Miles sounds like this, sometimes like that and sometimes like me."

Don't know - the LP "Julie is her name" (Liberty 3006 mono) came out in Jan 1956. Liberty only started up in 1955, which is when the LP was recorded, I expect. (I don't have a Liberty singles discography.) Were there earlier versions, I wonder? And who's Arthur Hamilton (the writer)? MG My memory (not always accurate) is that it was on the hit parade at least a few months before I saw the film (which I think came out in late '56. I saw it on New year's eve). According to AMG the Lp was 1955. (Not that they're always accurate.) They also say that the composer was an old schoolmate of London's. The song The Girl Can't Help It was written by Bobby Troupe the composer of Route '66. He and London were married, though I don't know if they were at the time. Maybe that's how they met. Previously she was married to Jack Webb!

I just got here Thursday. Or I would have. I'd like to see the studio.

I'm using a mac book and I'm getting the window but when I go to play I get a message saying: Unsupported document type. WTF?

I didn't notice the year on this thread so thought I had just missed it last month. Disturbing especially because I'm in NY visiting my son who's in the Tisch School and lives in the dorm at 80 Lafyette St. (Both mentioned in the article quoted.) And J Larsen I suspect you were in a state of shock when you started this thread-- with good reason.

Mazel Tov!!!

Checked out your Santa Barbara venue the other night. Cool place, with good food though the band is on a balcony fairly high off the ground. You guys will have to march down a flight of stairs if you want to want do do your pass through the audience.

I'm pretty sure that Cry Me a River was a hit a couple of years before The Girl Can't Help It.

I recommend This is Your Brain on Music by Daniel Levitin. Sacks refers to Levitin a couple of times in his book. Some of it gets a little tecnihical but there's great stuff in it and some wonderful anecdotes. (eg Joni Mitchell explaining that Jaco Pastorious was the only bass player who never complained that he couldn't figure out what chords she was using.)

I'm really curious as to what's included. I'm not suggesting you list everything but are there any surprises? Are the obvious numbers there?

Blood on the Tapes is great but I wouldn't call it acoustic. It has the original NY recordings that were substituted shortly after the Lp was released.

I love Blood on the Tracks and like it even better when I substitute the original NY tracks for those done in Minnesota.

I saw him do the dance at The Colonial in Toronto probably in the late '60s. By that time it had been written about that I sort of expected it and would have been disappointed if he hadn't.

I'm just listening to Bill Frissell, Ron Carter and Paul Motian play "Pretty Polly" and it sure sounds like Masters of War (which Frissell has recorded a couple of times). Is Masters acknowledged to be based on Pretty Polly? At least one book I have suggests a different old English folk song but I don't have any other recordings of Pretty Polly for comparison. Whenever I listened to this recording before I've always presumed they were playing Masters but I just now noticed the song title.