medjuck

Since this thread seems to have become a discussion of the liner notes (even from people who haven't read them yet) let me add this: One thing the liner notes don't talk about is the importance of air checks in general. I've been thinking about this because recently I've been listening to this set as well as the last Ellington Treasury Shows set and various AFRS Jubilee shows I've downloaded. Air checks give us a different view of most bands than records do. For better or for worse (usually the former) the bands tend to be looser when playing live. More important they play an enlarged repertoire including many songs they never recorded. (The notes do point out several instances of this-- including Coleman Hawkins theme song!) Even when the bands play songs they've recorded, they often, but not always, play different solos and even different arrangements (as the notes say). Usually the numbers are longer and you get to hear expanded arrangements ( or rather as Loren says, the recorded versions are the abridged arrangements). Walter van de Leur tells how he found the Billy Strayhorn's original, longer arrangement of Chelsea Bridge (which was never recorded) at the Smithsonian . But you can hear that original version on the Ellington Treasury shows. And as the notes do point out the performances and even arrangements often change from broadcast to broadcast. (The arrangement the Basie band plays here of St. Louis Blues had noting to do with the one played at the Chatterbox in Pittsburg in 1937. )

These recordings are presumably the best of what they could clear. On top of that they were already pre- selected by Savory: I was told by Loren while at the museum that the discs were dubs. My assumption is that Savory chose the best ones to dub from a much larger group of recordings. Perhaps those complaining about the notes could point out the cuts they think are not worthy of praise.

Also expands the Prez on clarinet discograpahy.

Since they own the rights to the Benedetti I would hope that they make them avaialbe via individual "best of" cds or downloads.

I found the opposite the last couple of times I was at Amoeba in LA.

Me too. The Randall's Island stuff is amazing.

Nothing on the Mosaic cds is in the Pres discography I have (Frank Buchmann-Moller's "You Got to be Original Man!") so perhaps none of the released material has been available before. Has anyone been to the museum recently and noted how much they're offering now? And though I previously said there were about 1100 selections I can't remember whether they were individual songs or collections of songs.

There's also a take 3 on the Miles/Gil box set.

What's "MSM"?

I just ordered the "Deluxe" edition and there's no mention of that.

I liked the cd that was issued to accompany "Lost Chords" but trying to read the book drove me nuts because (at least as far as I got in it) it seemed to be the history of an alternative universe with no Black musicians hence no Black influences. Maybe I should try it again. But then again I just re-read a gratuitous anecdote he tells in the notes to the Mosaic Columbia Small Group sets in which he describes Illinois Jacquet taunting a "young white tenorist" and I'm not sure I can stomach any more of him. (Why mention the guy was white and why tell the story at all?- it has nothing to do with the music at hand. )

https://jjs.libraries.rutgers.edu/index.php/jjs/search/search You can find a good rebuttal to Teachout by Dukes' nephew at the Journal of Jazz Studies. I didn't know about Teachout's racist background. One caveat: Lawrence Brown told many people that Duke punched him in the mouth. (Admittedly I heard this 2nd hand from the people who claim they were told this, but they were all Ellington fans and I have no reason to disbelieve them.)

IIRC (and I often don't), Leonard Feather gave 5 stars to Songs for Everyday Lovers in Downbeat. As a result I bought it and it became the first ever jazz related Lp I traded away.

Me either (Neither?). I hope it's because they're busy shipping the Savory set.

Not me yet.I think they should ship them to oldest orderers first. At my age every day counts.

There's (an apparently apocryphal) story that the storage capacity of the cd was developed so that it could contain a complete performance of Beethoven's 9th.

I don't know. I think there were at least some takes issued on the original cd release of the WC Handy record that weren't on the later cd. And then there's Pops teaching Lotte Lenya how to syncopate Mack the Knife that's on an Avakian produced Kurt Weil cd.

Ricky Riccardi has suggested that they're thinking about a set of the George Avakian/Columbia/Armstrong studio recordings.

But you obviously have a better memory than me.

I saw the Pullen/Adams group twice in Toronto: once at a benefit for Ed Blackwell in what I recall as a basement or ground floor room in a large building and once at the El Mocambo. I recall Adams spinning around as he soloed and that they played Happy Birthday for someone at the Elmo. I remember Bill Smith saying that MIngus chased him around the club yelling "You're stealing my piano player" because Bill was about to record a Pullen solo recording for Sackville. The recording session was done as a small concert which I attended. In each case I was knocked out by Pullen and Adams.

HAPPY BIRTHDAY1

Especially in 1976.

I've loved this song since I first heard Tony Bennet sing it backed by the Basie band. That and Miles playing My Ship led me to become a Kurt Weil fanatic.

IIRC sometime in the '70s there was a published rumor in the UK that Jack Bruce was putting together a band that included Bley and Mick Taylor as well as a couple of other interesting players who I can't remember. it wasn't clear what kind of music they would be playing. Of course it never happened.

I think Ricky Riccardi found some video of one of the Pops with Dukes of Dixieland recording sessions.