medjuck

Mazel Tov!! (Do they still say that in Israel?)

Unfortunately he's become a sportswriter and never seems to write about music anymore.

I got intrested in Freddy Slack because they kept playing "Beat Me Daddy 8 to the Bar" on a local radio station in LA. (It no longer exits). I finally broke down and ordered a Will Bradley/Ray McKinley cd to get it. Turns out the piano player was Freddy Slack who played a lot of Boggy Woogie with Bradley. They also recorded Down the Road Apiece-- I think the first recording, even before Amos Milburn's. hence the reference to Slack in the lyrics. Next I noticed Slack played piano on T-Bone Walkers "Mean Old World". Then I read that he'd been married to Beverly of Revelie with Beverly (sp?) fame. And he co-wrote "It's Square but it Rocks" which is on the Ellington Centenial Collection (the recent one with the DVD). All of which may have been too much of a build up for me. I'm a little disappointed in the Mosaic. However it's led me to replay the Bradley/McKinley Band cd which I'm still enjoying.

I remember reading an interview with him in Coda and thinking "What a great guy". He had a wonderful atitude about music and life and was very grateful for the help he'd gotten from other musicians-- especially Mary Lou Williams.

I was just loggin on to post the same information. Great site.

The Port of Harlem Jazzmen which I'd want one last taste of before I go. As to my funeral: I've instructed my wife to play KOB while people are entering, The Byrds version of Turn, Turn, Turn before the Rabbi speaks-- since at the last couple of funerals I've been to the clergymen have begun by saying "For everything there is a season"-- and finally at the end of the service Warren Zevon's "Keep Me in Your Heart": a song so to the point I don't know why everyone doesn't have it played at their funeral.

Yeah I really liked it too. But I have to say a lot of people I know thought it was terrible.

I'm with you. I've been trying to create my own Gaslight tapes from a couple of bootlegs and single trackes that Sony has set free but I haven't gotten very far.

And let's wish a Happy Birthday to Louis Armstrong--even if it's not really his birthday I say Pops earned the right to whatever day he wanted.

In "Straight Time" he talks about how he'd fallen under Trane's influence at the time. I've been trying to find some cds from the same period but to no avail. I'm not sure which ones I should be looking for.

I'm not sure that Richard Williams's "Long Distance Call" is available in the US but I recommend it highly to anyone who can get hold of it. Only about 1/3 of the essays are about jazz musicians (the rest are about Bob Marley, Frank Sinatra, Ry Cooder etc.) but one of the jazz essays is probably the only thing you'll ever find on Durpee Bolton. (I almost didn't buy this book when I saw it because the cover photo is one of those romantic photos of the young Chet Baker holding his horn and I presumed the book was a bio of Chet till I saw the small print subtitle: "wrintings on music".)

BTW Chuck: Is the Garner material as good as the critics say? And is it very different from his later work?

I may be able to answer my own question by asking another: How many minutes could you get on a 12 inch 78? I was checking out V-Disc 760 (Billie Holliday and Louis Armstrong singing "Do You Know What It Means to Miss New Orleans" and noticed that it's 6:34 . V-Discs were 12 inchers usually with the music from 2 10 inch discs per side. (Or were they perhaps one-sided only?) I had a cd of Billie Holiday V-Discs and was listening because of a question that had been brought up about the Pops/Lady Day "Do you know...." when I noticed how long it was. Actually reading the liner notes for that cd I infer that the V-Discs were one sided. If so a 12 inch 78 could obviously hold 6 minutes +. Anyone here know much about V-discs? Or about 12 inch 78s in genereal?

(I thought I posted this already but can't find it. If it's a duplicate I apologise.) I've been listening to a European semi-bootleg collection of early Serge Chaloff ("The Serge Chaloff Memorial-- We the People Bop". It starts with 2 studio recordings of Blue Serge done for Dial in 1946. One of them is 6 minutes long! Was it originally issued on 2 sides of of a 78? Also what method of recording was used in the studio to cut a number at this length? And if Ross Russell could do this for Chaloff why did he never do it for Bird?

To rephrase a question I asked earlier in this thread: Were they this good every night around then? This may be the best live performace I've heard by them. Anyone suggest any they think are better? I'm still befuddled by the lack of enthusiasm from the contemporary reviewers quoted in the liner notes.

I'm a little disappointed in some of the "Columbia Small Group Swing Sessions" and I hated the liner notes. But that unreleased Ruby Breaff session with Pee Wee Russell is so good that it's worth the price of the set. (Well maybe not.) I'm also not nuts about all of the HRS sessions but I'd probably be one of the people complaining if the set wasn't complete. And though this may be heresy I probably could have survived with a 2 disc best of Bix/Tram or Venuti/Lang. In terms of other sets people have listed: I love every little bit of the Candid Mingus and even the Benedetti/Bird.

Hey I was at the taping too! I interviewed Wilie the Lion but to be honest didn't know enough about him at the time to do a decent interview. (Billy Crystal once told me that The Lion named him "Face"-- hence Crystals' company "Face Productions".)

Wow!!! Me too! And me. Entr'acte is already on one of the Rene Clair Criterion discs, but it will be very nice to have the Leger & Dulac. A nice DVD of all of Germaine Dulac's films would be a marverlous thing. ← Do either of the releases of Entr'acte use the Ertic Satie music from Parade that was written for the original screenings (which were part of a theatrical presentation-- the film was the "entr'acte")?

Ted: You might know about this: Do you remember a show Bill Evans did for CBC TV? The director was Paddy Sampson and Eddie Gomez was on bass. A friend invited me into the booth during the taping (I think there was no audience.) I've inquired of CBC Archives about it but they don't have it. I thnk it's an example of the tapes being erased. Also do you know if the CBC show of Wilie the Lion Smith and Don Ewell is extant?

Is she also responsible for Sony's inability to release an extended version of Concert by the Sea?

Hey, thanks for posting this.

If you go let me know how he is. He's playing the nearby Chumash Casino later this summer. It's a horrible venue but James Brown is also going to play there so I may have to make the treck a couple of times.

I've always loved this record. Especially Desmond's solo on Le Souk. Sound is ok.

I was just listening to this and it didn't seem very dynamic (the sound, not the music which is very dynamic.) I have what I think is the first cd version of it. Has it been remixed for later releases? Is it in stereo?

In the reviews of the concert printed in the booklet none of the critics seem particularly impressed. Are they jaded because they could hear this caliber of music every night on 52nd Street? They are very impressed by Erroll Garner. Chuck or anyone else who's heard these tapes: Was he that good that night?