medjuck

Hey where'd that cat come from? BTW Many peole here are now a coule of years older. And who's in their 80's? (I'm not up to scrolling through 11 pages to find out. Too old I guess. So old I can't remember whether I responded to this. )

Only if the cd is oop or very difficult to obtain. I'm aware that this is ethically a dubious distinction.

Maybe mine, too. Interesting in the light of what Chuck said about Cannonball usually giving him the heebie-jeebies (though as I've said at least once before, I don't presume to read Chuck's mind) that one of the standout performances here is of Leroy Anderson's "Serenata." That is, without doubt the music of Anderson (he of "The Syncopated Clock" et al.) was deeply prefab/streamlined-corny, and Cannonball had some affinity with that kind of thing -- though on a very good good day like this one he could take a tune like "Serenata" and transform its manufactured swoony dreaminess into genuine lyricism IMO. BTW, I'm not saying that I am (or that anyone can or should be) wholly immune to manufactured swoony dreaminess and all its various offshoots -- not possible if you were born in the U.S.A. in the 20th Century. In fact, one of the things that a fair amount of jazz does is show us how to deal with those more or less inescapable things. Anyhow, Cannonball on "Serenata" is one of my favorite examples, in part because it's fairly extreme and/or close to going over the line. Didn't Wayne Shorter recently record "Serenata"?

If by "commercial" you mean popular, I don't think it should affect how you react to the music. In terms of sales, KOB is Miles's most commercial record. I used to joke that Miles would have been more popular in the 70's if he'd continued to play "My Funny Valentine". I d like to think he didn't go electric to sell more records but because he was bored with what he'd been playing. I may not have liked him as much after 1970 but he didn't give a shit about what I, or anyone else, liked. Maybe the same is true for Cannon. I happen to like his early stuff better than his later work. Obviously many people disagree. (Though I probably really enjoyed "Mercy, Mercy, Mercy" the first 100 or so times I heard it.)

Sidewinder: Where did you get this quote? I used to live around the corner from Rochdale and had many varied experiences there.

The other songs were cut on 31 December '44 and the musicians are Dizzy, Georgie Auld., Aaron Sachs on clarinet, Chuck Wayne, Jack Lesberg bass, Morey Feld drums and everybody's favorite, Leonard Feather on piano.

I've been buyng them at Amoeba Records.

I sw him with Lateef (that's how old I am) and liked it but must admit I don't remember much else about it. Something Else is, of course, a record made after he'd joined Miles and had played with Trane. I originally thought of calling this thread Cannon and Miles but the cd that brought it to mind didn't include Miles. BTW no one so far has mentioned his playing on KOB

Is it just me but I find Cannonball's playing with the Miles Davis Sextet to be very influenced by Trane and IMHO more exciting than anything he played before or after. I was just re-listening to The Cannonball Adderly Quintet in Chicago and on The Sleeper I can barely tell them apart. OK to be honest I'm not a 100% sure that it's Trane on the first solo. He's playing at the top of his register and Cannonball keeps using the bottom of his. And The Sleeper sounds like it could have been on KOB. I think In Chicago was recorded just a couple of days before KOB's first session.

Charlie Parker (as); J.B. "Dizzy" Gillespie (tpt); Flip Phillips [Joseph Filipelli] (ts); Nat Jaffe (p); Tadd Dameron (p); Bill DeArango (g); Dillon "Curly" Russell (b); Max Roach (d); Sarah Vaughan (voc) For Woman, Mean to Me, and I'd Rather Have.. I think I can find the rest later.

Thanks. Was he really playing with Stevie Wonder when he was 13? And in 2003 he still looks like he's about 18 years old. Anyone here hear "Rebirth? "

The band also recorded a number called "The Boppers". I'll dig it up and give it a listen again. That was originally called "Floogie boo" and, according to the sleeve notes, was written by Cootie and Cleanhead. It was recorded on 4 Jan 1944, some weeks before Coleman Hawkins made the first Bebop record. (Ahem!) MG The cd on which I have it (Jazz Archives) claims that it was written by Cootie alone and that it's the same as "You Talk a Little Trash"-- which it is, just speeded up. However the cd notes also make the dubious claim that the alto solo may be by Bird, so who knows how much they can be trusted. BTW I'd say that Ken Kersey who plays on Epistrophy also brings some Bop to the band.

It's also possible that at the timeof the VHS release the stsudio hadn't cleared the rights to the pop song for home video. That happened a lot with films made befoer about 1982. We had a film held from video release for nearly 20 years because the contract for the many songs in it hadn't been specific about home video. This still happens with tv series: i.e. when they're released on home video they don't always have the original songs in them.

Anyone know what Michael Henderson's been doing since 1975?

The band also recorded a number called "The Boppers". I'll dig it up and give it a listen again.

That set is available on the "vine" circuit: Stan Getz Quartet Newport, RI; 3 July 1961 Stan Getz (ts) Steve Kuhn (p) Scott LaFaro (b) Roy Haynes (d) 1. Baubles, Bangles and Beads (8:18) 2. Where Do You Go? (8:16) 3. Airegin (8:26) Total time - 25:01 I've got this on a cd of dubious provenance where it's coupled with some Miles from (I think) 1956. I'll get the details when I return home.

Uhhh..What were you doing there?

There's a great Mulligan discography at the Libary of Congress site. (It's a 400 page PDF file!) I was perusing it and startied wishing that Mosaic or somebody would do a collection of his Mercury material. Then I checked out the iTunes Music store this morning and they had a new Verve Vaults which included "Presenting the Gerry Mulligan Sextet." I'm hoping that this is the first of many. BTW the Vault is fairly eclectic: there's even a Paul Bley record.

Happy Birthday! Calgary eh? Keep warm on your birthday.

I finally broke down and got this. I'm a Miles completist but only through '69. So far I do like this. Has anyone peeled back the sticker and seen what it says underneath?

Mine, too. As far as I know, never made it to CD. 'Twas Hannibal HNCD 9301. Doggone it, I saw a duplicate copy in a cutout bin a couple of months back. Didn't get it. Next time I'm in that part of town I'll check again. I've got it on cd and I think I did get it from a cut-out bin.

I can make you cdrs of them if you like.

Deos that mean Black musicians shouldn't play things from the repertoire of Sinatra, Marsh, Wilson or Astaire?

Happy Birthday. BTW I p[resume that you are the same Nate Dorward who wrote the Coda cover story on Don Palmer-- which I very much enjoyed.

A few years ago I heard a fairly hip Toronto radio personality (Danny Finkleman) play the original Johnny Hodges version of "Things" and announce that it was by Duke Ellington and Johnny Mercer. I presume that he saw Mercer Ellington was the composer and read it as Mercer-Ellington. I remember thinking exactly what you said: "A little knowledge is a dangerous thing." BTW on a Johnny Hartman Impulse release the composer of "My Ship" is listed as someone other than Kurt Weil.