medjuck

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?

Got mine today. Not only great music (already played it twice) but great service! Ordered it on the 7th. Arrived the same day as the Jim Hall from Artists Share I ordered on the 1st.

And Jane just posted the following : According to my research DE never recorded Merrie Mending but unless someone can dig up a tape of the Sister Kenny radio appeal no definite conclusions can be made. Merrie Mending by DE cc 1954 Merrie mending, Merrie Mending May your convalescence be fun As you chat about prevention. Forget about your pills, For get about your ills Forget get about your bills. Get up, get out, get well again. Merrie Mending with health and happiness blending. Merrie Mending to you. (There another verse) Are these the lyrics Simone sings? (I haven't been able to find the cd yet.)

I think I read somewhere that his appearance at the very first JATP concert was as a sub for Oscar Moore. Also he tells a funny story about Charlie Christian in the Sony Christian box set. (Makes fun of the weight of his early guitars, not of Christian.)

And many, many more!

Jane Volmer on the Duke-Lym list (and I did send your request again) writes: Merrie (Merry) Mending was written during the polio epidemic for the Sister Kenny Institute. Heard on radio for the Sister Kenny Appeal 1952.

My number 2295 came in 2 cases.

The the entry for the manuscript at the Smithsonian says "6. Merrie Mending Merrily Rolling Along see ANATOMY OF A MURDER" Merrily Rolling is on the Anatomy cd and in the liner notes Phil Schaap states that Merrily Rolling that it is really "Hero to Zero". (At least I think that's what he means.) Does Simone's Merrie Mending sound like anything on the Anatomy cd? BTW Simone sings Ellington is also the only place you'll find a vocal version of "The Gal from Joe's". I wonder if Simone wrote these lyrics.

Sounds like the license is expiring significantly short of the 5000 limit. ← Anyone remember when it first went on sale? Since they're talking about the number they havae left, it could be that they don't "press" ("burn"?"print"?) 5000 copies at once and if they're getting low just before their license expires they don't bother to manufacture more. Just guessing.

I've got Vol One of the original cd release and remember really hating the liner notes for taking those gratuitous swipes at Sheldon. I've been fond of Sheldon's playing since I first heard him on a Hi-Los (Hi-Lo's?) record. But I'm always made uncomfortable by liner notes that tell you how bad the music is (eg. the Complete Studio Lester Young on Verve). It's especially weird with Mosaics since their catalogues are so overly effusive about the music. I suspect that if they'd used Richard Sudhalter's notes for the Columbia Small Group Swing Sessions as their advertising material they wouldn't sell many copies. Though I have to admit I'm not thrilled by all the music in that set, he seems to have been in a pretty bad mood when he wrote the notes and spends almost as much time in personal attacks on John Hammond and Illinois Jacquet as he does on the music.

Bill Frissell recorded a soundtrack for Go West. I played it along with the film and only had to pause a couple of times to keep it in sync. Fun to do. when in iwas in college I used to create soundtracks for silent film screenings. I still rmember using Charlie Mingus to accompany a chase scene Chaplin's The Kid. Everybodys seemed to like it but I caught Hell for using Delarue's music from Jules and Jim for the sentimental parts of the film.

It's nice to hear the band in an informal setting but I must admit I don't enjoy this as much as most of my other Ellington recordings. It does give you a sense of how loose they could be in person. And it is ( or they are) a bargain. Also I think this is one of the sets where they play Ornithology as part of How High the Moon.

Anyone know about this?: Bill Evans/Lee Konitz - Play The Arrangements Of Jimmy Giuffre (Lonehill Jazz 193) May 30 — 1959; with Warne Marsh, Hal McKusick, Jimmy Giuffre, Roy Haynes and Jim Hall; octets and nonets I found this on Jazzmatazz and hitting the link to CDUniverse I learned that it's "digitally remastered". According to the Bill Evans discography site (which I can't seem to access right now) it's a Konitz date. What's surprising is that it's from 1958. I thought sessions had to be 50 years old to get the Lonehill treatment. And is it really "digitally remastered"? Could they have legally obtained the master tapes? Does Lonehill do any completely legal releases?

Sackville?!!

Good point. I was shocked ("shocked I tell you") to learn how much editing George Avakian used in creating not only Miles Ahead but even the Louis Armstrong-WC Handy record. And as I remember it there is only one cut that is a complete take on the complete Tijuauna Moods.

A few thoughts on the subject: For most of us the history of jazz is the history of recordings. By this I don't just mean that we don't know what Buddy Bolden sounded like. (And btw Danny Banks claimed he heard Bolden. Maybe he described what he heard to Wynton Marsalis!? ) Rather what I mean is that we tend to presume that recordings represent what was happenning at the time. But that's not always true. It's often pointed out that the Armstrong Hot 5s and 7s were just recording groups. When they were made Pops was performing live with a big band. And I think we also get influences confused because we tend to emphasize when records were made rather than when they were released. Sometimes it's even difficult to find out the latter-- I've been trying unsuccesfully to do a chronology of Miles's release dates in the late 40's and 50's-- though I'm gradually getting it done. Miles is a good example: through the 60s his studio recordings were not particulalry representative of his live performances. And most of the Birth of the Cool recordings were released long after the brief life of the nontet. (I think the first 10" Lp release was not called Birth of the Cool.) Someone coming to him new today would have no idea why In a Silent Way and Bitches Brew sounded so revolutionary at the time, because recent reissues contain some of the earlier cuts with guitar which were not released till long after IASW and BB came out.

That means you must have listened to Jack the Bear by now. If it sounds fine then they've drastically improved the sound from the Centennial Box.

Don Pullen's "Solo Piano Record" on Sackville. Just cause no one's mentioned it. There are a couple of Elllington solos from the late 30's that Columbia's never released on cd (I think).

$125,000!!!?? Is he playing stadiums? Where'd you get that figure?

Only once-- and I've seen hundreds of bad movies. But I was watching the much praised "Chant of Jmmy Blackstmith" (I think that's the title) at the Cannes film Festival no less, when my lovely wife turned to me and said "If there's one more shot of a fly buzzing against a screen I'm walking out." There was and we did.

Wow, what a great thread. I'm really impressed that so many people didn 't just follow what I would think was received opinion. Eg. I would expect: Miles: KOB, Trane: ALS, Bill Evans: Sunday at the VV, Wes: The Incredible Jazz Guitar etc I must admit that most of these would have been my choices. Now I want to give a closer listen to some of these other cds. Though I don't really think I'm going to like any Wes Montgomery record more than The Incredible Jazz Guitar Of...

I think there was a one-ff tv show with that name. Ahmed Jamal and Ben Webster groups. Produced by Robert Herridge who also did The Sound of jazz and the Sound of Miles Davis.