medjuck

Oldest I can find is Roach/Brown "Study in Brown". Manufactured in Germany. No date on it. Probably about '84. Picked it up free from an office in Warner Brothers where I was working on a laser disc project (which eventually became Criterion). I also got the Koln Concert but traded it for a later edition because the first one didn't have the coda.

The double cd set of Max Roach and Dizzy dueting in in Paris has an interview in which the 2 are shown this performance. Dizzy can't remember the drummer's name at first. He does notice that he's left handed. And neither of them recognize the bass player. But then Max says the drummer is Charlie Smith who was a brilliant young man who became a lawyer.

The following should speak for itself. To find the links to which they refer you can go to their website (Just Google KJAZZ). I've had probelms with KJAZZ in the past but they actually seem to be getting better recently. THIS COUNTRY MAY LOSE ONE OF ITS BEST AND LAST JAZZ AND BLUES STATIONS The California State University Long Beach Foundation (CSULB) which owns KKJZ’s license has put out a Request for Proposal (RFP) to 5 different entities to compete to manage and run KKJZ FM. Evidence suggests that Southern California Public Radio (SCPR) approached CSULB to run KKJZ FM, which led CSULB to send out their RFP. We believe that the other 3 entities were invited to the RFP to deflect attention away from SCPR’s agenda. Only Pacific Public Radio, the entity that has run the station for the past 19 years has the expertise to keep KKJZ a 24/7 jazz and blues station. We are in a time where jazz has eroded away on the public dial, relegated to night and weekend programming - second to news and talk, if available at all. While we understand the cause of this, we believe a fight is on to prove that a 24/7 jazz and blues station like KKJZ FM in Los Angeles ought to be able to survive and thrive next to our news and information counterparts, providing a unique and equally valuable service. Jazz and blues have large legacies that should not go out with a whimper. Far too much of the media in our society has become disposable, tossing out legacy for the latest money maker. The cultural significance of jazz should not be thrown away. Please review the following links and do what you can to help us.

Wow!!This is great. Now if Sony would only release all full band sides they have from the same era.....

Did you get it on cd or Lp? Maybe the first 1000 were for which version you didn't get.

Hey Jim: Last night while I was waiting for The Sopranos to begin I was cable surfing and on one of the many music channels my cable system offers (the Jazz one of course) there it was: A picture of the 3 of you with a cut from your latest release as soundtrack. While I watched the picture changed and brief pieces of information about each of your professional lives began to appear on the screen! Congratulations!

I expect they never filmed The Honourable Schoolboy because Smiley isn't central to it and he's sort of a villain in it. (As he is in The Spy Who Came In....). If they were to do more Smiley stories they might do Call from the Dead (which Sydney Lumet turned into a pretty good movie) or A Murder of Quality.

So who on this board got the highest numbered set?

For me, that is the best reason not to buy it. Studio chatter is interesting to listen to once, but I sure don't want to hear it over and over again when I can be listening to the music instead. I'd usually agree but this studio chatter has been part of my listening experience for nearly 50 years. It's become the verse or coda of some of these cuts for me.

Well mine was Tiny Parham before it got wiped out when Jim pushed the wrong button. Someday I'll figure out how to get it back.

Though if memory serves me well (it often doesn't) The Memphis Record has a different or edited take than the single (or at least the version on 30 No. 1 Hits): no horns and it's a minute shorter.

Is there enough Trane with Monk on Riverside to fill 2 cds?

I saw Sonny in the mid- sixties post Our Man but still under Trane's influence. I liked Our Man but was disappointed in him live. (I think he was accompanied by Grant Green-- is that possible?) Then I saw him a couple of years later right after he returned from a trip to Europe and he seemed to me to be a new super-charged version of his old self. (Though as I remember it that concert got a bad review in Coda.)

I saw Perkins at a club in Santa Barbara a few years ago and he seemed to have reconciled his 2 tendencies pretty well. (Did he die fairly recently?) Also the Kamuca I'm most familiar with is his playing on "Shelly Mann at The Black Hawk" where he's much more agressive than he is on this recording. That's why I was surprised by Allan's description of his work.

I recorded it on vhs then transferred it to audio tape. I have it in my computer now and can make cdrs if anyone wants them. Unfortunately my original radio reception of the program isn't great.

Didn't Marvin play a bass player? And IIRC doesn't he have a speech where he talks about having to pluck all evening after he had lost his bow? (Maybe it was another actor.) I've often wondered about that line. Did bass players in early bands often use their bows?

I admit it. I can't tell who's soloing when. The liner notes give some help but not much. (They point out that Perkins sometimes sounds like Cohn and Kamuca sometimes sounds like both of them!) Can anyone help? (Not that it really matters-- I'm enjoying it a lot without knowing which one I'm hearing.)

Mine was 4897. Will the last one shipped be 5000? Were there 2500 Lps? Does anyone really know?

I agree with all of the above and would add "The Memphis Album" for the best of his later work. There was a compilation cd of blues numbers called "Reconsider Baby" that actually credits the original recordings being covered. There's a great 6 minute long version of Charles Brown's "Merry Christmas Baby" and a take of "One Night" with the original lyrics. I'm not sure it's still available but it's worth looking for.

And Cinemascope. I hope you can get it in wide-screen. I say it's a classic.

I suspect that you are correct.

Though I think Peter Losin's discography says these performances are really from Feb 16 and 23 1957.

Saw this on the Jazzmatazz site: Gerry Mulligan - California High School (Back Up [Netherlands] 73125) Apr 25. I presumed that it was a concert from the 50's but when I clicked through to the CD Universe site it listed all cuts as "studio". I could not find this session in the comprehensive Mulligan on-line discography. Anyone know about it?

1) Sources: i.e. I've bought things listed in the FS thread. 2) Recommendations: If a lot of folks here (I'm not sure what the critical mass is) speak highly of a cd I don't own I'm inclined to give it a try. 3) Existence: I've bought things I didn't know even know existed until I first heard about them here (eg the alternate take of Shoeshine Boy).

I try not to read film reviews but it's been difficult to avoid reviews of this. (Besides it's not like they could give the plot away.) Virtually everything I've read or heard says this is a great film. Never-the-less I'll probably not see it right away just because I'm too chicken to put myself through the emotions I expect it will evoke if it is as good as they say. BTW it was the 3rd highest grossing film last night with the highest per-screen average.