medjuck

I'm trying to verify the discographical information for the sides Coleman Hawkins cut wth Jack Purvis in (I think) 1930. I finally found this information on a Purvis listing: Jack Purvis (t,v), J.C. Higginbotham (tb,v), Castor McCord (ts), Adrian Rollini (bsx), Frank Froeba (p), Will Johnson (gtr,v), Charles Kegley (d). New York, April 3, 1930 Huh!! Is Castor McCord a psuedonym for Hawk?

I just saw Frissel with his quartet in concert. I loved it but I'm not sure it was jazz, so I can understand someone who was first attracted to him as a jazz artist "losing" him. Though I had a couple of jazz cds with him as a sideman, I first really became a fan when I heard "Good Dog Happy Man". With Frisell you never know what you're going to get. This was basically the "Good Dog Happy Man" Frissell: Guitar, dobro or steel pedal, stand up bass, drums. He ended the concert with a blistering version of Masters of War, followed by Hard Rain followed by a song of his called "That Was Then" which sounds like a variation of Knockin' on Heaven's Door. His encore was "I'm so Lonsome I Could Cry". Does that sound like a jazz concert?

I have that but I was disappointed to see that despite being called " Coleman Hawkins: The Complete Recordings 1929-1941" it's missing all of his work with Fletcher Henderson from those years. There may be some explaanatin but since the box comes with no notes I don't know what it is. I've been putting together my own discography for this set but I've still got a few holes. Anyone know who played on the 1930 Jack Purvis date ("Dismal Dan", Poor Richard" and "Down Georgia Way") or "I'm in the Mood for Love" from 1936?

So about 8 months ago my wife bought tickets for a series put on by UCSB that included a performance by Joshua Redmon. By the time the date arrived it was the SF jazz Collective with Redman, Bobby Hutcherson, Nicholas Payton, Brian Blades, Renee Rosnes, Miguel Zenón on alto, and Robert Hurst on bass. Talk about an all-star band. The first half of the program was all Ornette Coleman compositions and the 2nd half originals by band members. Their encore was a Coleman blues. Great stuff though I found the emphasis on compostion made it a bit constrained. I would have liked to have have heard them stretch out some more. Ironically I think the Lincoln Center Jazz Orchestra just played here and featured Ornette compositions also. ( Ironic in that it's doubtful one could have heard as much Coleman over the last 2 decades as one could over the last few months.)

Thanks. I did some research in a bio of Gershwin but it wasn't clear about the original production. From your research I take it that even the original production was done with dialogue not recitative.

Who's Pete Brown?

Was it originally performed with the recitative ? I know it's been performed that way for a couple of decades but for some reason I'm under the impression that although Gershwin wrote it that way it was originally perfomred with spoken dialogue between the songs. Maybe I think that because an opera troupe in the 70's made a big deal about using the recitative. Surely the Cab Calloway production that toured in the 50's (60's?) didn't include it. Or did it?

Uhhh. I was going to say none. The question asks for "apostrophe f" if you read the quotation marks correctly. As is often the case nowadays there should be no apostrophe in this question. But enough pedantry. I still counted 3 the first time I read it. Great test.

Speaking of Davenport Blues: one of my favorite versions is Gil Evans's. He playes the last refrain first-- as does Gerry Mulligan, who I presume had heard the Evans version. (Ooops I should check out the chronology-- I'm not sure Gil's version was earlier than Gerry's.) Regarding that refrain-- which begins about 1 monute before the end of Bix's version-- I've heard it on many other numbers from the era and later (usually as a coda). Did it actually originate with Bix? I don't think I've heard it on any thing recorded earlier.

Wow. does that include all the Paul Whiteman appearances? Even if he doesn't solo? How many cds does that make?

Does anyone remember a version with Ray Charles and Cleo Lane?

Thanks Chuck. If I can display my ignorance: what or who is Bruyninckx?

Gotta go with Monk. As to my many gil Evans-- he didn't actually compose very much. And he had enough influence that there are some new arrangers who can sound a bit like him.

Is there a Coleman Hawkins discography out there somewhere? I'm reading the John Chilton bio and he claims Bean's first recording was Mamie Smith's Mean Daddy Blues from April 1922 supposedly recorded shortly after he joined her band. But I just got a Mamie Smith cd that lists several earlier recording dates with Hawkins starting in in October 1921.

I heard the San Francisco Symphony perform that in Prague last year. Do you know if it's available on cd? And BTW I think the only 2 "with strings" jazz reocdings I really like are Focus and Chet Baker with Strings. I also like the strings side of The Genius of Ray Charles if that counts as jazz.

I started reading it but found myself getting confused because he didn't mention what was happening with Black musicians at the same time. I have no problem with his rediscovery of lesser known White musicians and their contributions but it all seemed out of context to me. I should try it again. There was a good 2 disc set that came out at the same time which contians many of the cuts and artists to which he refers.

Gil Evans. And Van Morrison.

This reminds me: anyone here read "Lost Chords" the book about White Jazz musicians?

I think I saw Ziggy Stardust there. The opening act was Roxy Music and Eno was still with them. (I mean I know I saw the show, but I'm not certain it was at the Rainbow.)

Gotta go with Duke. But I do remember seeing Gerry Mulligan once in a large theater in Montreal and he was so casual it made it seem like a small club.

Don't underestimate yourself. A degree in computer science is a great asset in almost any job nowadays. (Wish I was more computer literate.) And obviously a dgree in music is an asset for this job.

I felt the same way. Actually I can't remember much about the Deveaux except his point that Hawk doesn't get enough attention as a bebopper. And that the writer probably knew too much about academic jargon. I learned more from the Proper box sets Hawkins: The Be-bop Years and their Be-bop Box (the title of which I forget right now) which had a lot of material I'd never heard, or even heard of, before.

Right you are. I had all of them though the EKE and lady Day sets were on cassette. I didn't order those 2 originally because I had all the cuts elsewhere. I eventually saw them remaindered somewhere and got them just for the booklets. Then someone from Australia on the RMB newsgroup pleaded for 3 of the box sets and I sent them to him. (He sent me some Aussie jazz cds and the Dylan" Masterpieces" box in return.) I can't remember exactly which Time-Lifes I sent. One was Frank Teschemaker (Sp?) in which I had no interest. But just yesterday I went to look something up in The Coleman Hawkins box and realized I know longer had it. BTW What I was looking for was pre-1929 Hawkins material. Maybe something with Mamie Smith (I'm reading the Chilton bio of Hawkins.) Any suggestions?

The Milestones material on the Miles/Coltrane box set got me to thinking about alternate takes. It seems to me that in this case they made the right choice everytime. Is that just because they're the ones with which I'm most familiar?

Has anyone besides me cut down on their cd buying because they're buying some things via downloads and keeping them on their computers and i-pods? I know the sounds not quite as good but I rarely get to hear things under optimum conditions anyway. And my hearings shot because of age, too many rock concerts and too much time spent on mixing stages. The concept of everything being available all the time really changes the concept of collecting, be it music, literature or films.