ladenso1

I now have a digital copy of Lem Davis's recording of "This is Always." Sorry to say it is not the source of Pleasure's version. And I repeat that I can't believe that anyone that listens to the latter and also listens to Moody's recording will think that the Moody recording is Pleasure's source. So...the mystery continues.

Since starting this thread I learned about a recording of "This Is Always" by Lem Davis, Prestige 915, Oct. 16, 1951 that has never been reissued. The rhythm section of Teacho Wiltshire, Leonard Gaskin, and Teddy Lee is the same rhythm section that did Pleasure's "Moody's Mood" four months later on Feb. 9, 1952. Lem Davis is also on that recording. None of the members of that rhythm section or Lem Davis are on Pleasure's original recording of "This is Always", September 29, 1953. However, Teacho Wiltshire was involved in Pleasure's 1962 remake of "This is Always" linked to above by mikeweil--(he copy of the 1953 recording on youtube from the 78 is very noisy; Pleasure's vocalese is the same on the 1962 remake). Vincent Pelote of the Institute of Jazz Studies, Rutgers University-Newark, in a reply to my query, stated that the Institute does have a copy of Prestige 915. Any member (1) located close enough to Rutgers-Newark to make feasible a visit to the Institute, and (2) have sufficient interest in this to make the visit to listen to Lem Davis's "This is Always" to determine if it's the source of Pleasure's two recordings? An appointment is necessary to visit the Institute: https://www.libraries.rutgers.edu/newark/visit-study/institute-jazz-studies It would be great if someone could check this out. (Or maybe a member just happens to have a copy of Prestige 915).

Thanks, I can't believe that Moody recording is the source. I wonder how carefully the writer of the Blue Note reissue liner listened to the two versions. Delighted to hear you're working on that discography. Really look forward to its publication. Let me throw out something for your consideration. In what I believe is Pleasure's original composition, "Golden Days", in the bridge I think I hear him quoting from a part of Lester Young's solo on the immortal JATP recording of "Lady Be Good." It's only around 20 seconds but compare Pleasure from 2:55 to 3:07 on "Golden Days", to what Lester plays from 5:07 to 5:27 on the JATP "Lady Be Good." Meanwhile, to my thinking the search continues for the source of Pleasure's "This is Always."

This is embarrassing. Yesterday I wrote that I had identified the sources of 8 of the 9 tracks on the album by King Pleasure originally issued as "Mr. Jazz." Turns out that after the very helpful replies to my appeal for help on the source of "Mean to Me", I now have the sources of 8 of the 9 tracks. I thought Moody's recording of "This is Always" was the source of Pleasure's version. But that's clearly not the case. Still looking.

Wow, thanks. Based on all of Pleasure's other work it never would have occurred to me to think about tracks from the 30s. I bought "Mr. Jazz" a few years after it came out and now 60 years later, with your help I've finally run down every track.

In searching for the sources of the tracks on King Pleasure's last recording--initially issued as "Mr. Jazz" on United Artists in 1962--I'm up to eight out of the nine tracks. The one that still eludes me is his version of "Mean to Me." Anyone know whose recording he based that track on. Thanks.

Thanks very much. I'm surprised--he's not one of my favorites and of all the saxophonists listed as being on the track (discogs) I thought he was the least likely. Excellent solo. Does the piece justice.

Would appreciate it if someone could tell me who the featured sax soloist is on the track mentioned in my title. Thanks.

Thanks so much, Trumpet Guy. Wouldn't have thought it was Henderson taking the first solo. Did suspect it was Harrell on the final solo. Thanks again.

I recently discovered on youtube the track, "That's Earl, Brother", from the 1998 disc, _Trumpet Legacy_, with Eddie Henderson, Lew Soloff, Nicholas Payton, and Tom Harrell. Reading reviews of the disc I learn that "Earl" is one of only two tracks on which all four trumpeters play. Wondering if anyone might have the disc and could provide the order of the trumpet solos on that track. Thanks in advance.

It wasn't there when I initiated this thread. Immediately after i thanked JSngry for getting me pointed in the right direction I sent the compilers at the Jazz Discography Project an e-mail with a link to https://www.discogs.com/Paul-Desmond-Quartet-Edmonton-Festival-76/release/3110331 Glad to see that they've acted so promptly on my post.

Well, that's definitely what I was looking for. Third track in the concert is the same as the youtube upload with the incorrect album cover. The Jazz Discography Project just missed that one. I'll have to see if there's a way of contacting them about it. Thanks so much!

Paul’s discography on the Jazz Discography Project website shows two recordings Paul did of “Wave”, one in the studio, and one at Bourbon Street in Toronto. Both have been uploaded to youtube. (The one from Bourbon Street is especially interesting: Paul plays the “Audrey/Balcony Rock” coda in the second eight bars of his first chorus after the head statement: https://www.youtube.com/watch?v=AY0nsymnf4s). But a third Desmond version, which sounds like it’s also from the Bourbon Street gig (perhaps played a different night) is also on youtube. The video part of the upload shows the album cover from a compilation called Jazz at Midnight. But this track is not on that album (the album does contain “Here’s That Rainy Day” and “Funny Valentine” by groups led by Paul). So where does that third version ( https://www.youtube.com/watch?v=hPRsi_WYBzY) come from?

I've just delved into Swingin' Sounds. Checking out Chiefy Salaam on Google, I find that he's mentioned on page 185 of Gitler's _Swing to Bop_. It's a little hard to follow Earl Coleman but as I best I can parse him he says that Salaam was in Benny Carter's band in California around 1944-45. Very cryptic mention but it's worth revisiting those pages--if you have the book; page 186 is not on Google books--to read what Coleman and Art Pepper had to say about Freddie Webster, who was also in that band. Mark, thanks for the reminder of Sonny Stitt's birthday today.

Thanks guys. As it turned out I had found a contact e-mail for Bill Goodwin on the web and mailed him the same query just before I sent my original post to Organissimo. Very happy to report that he replied about an hour and 15 minutes later: >That tune is called Charles Christopher (for Charlie Parker) originally recorded in '70s on the album "I Remember" So now the question is how do we get in touch with that worldcat reference and give them the word about this? Further items of discog. interest: The track from _I Remember_ is on youtube but somehow the compilers of the Woods section of the Discography Project missed that album. However, they do list an album 10 years later on which Phil did that piece with Tommy Flanagan, George Mraz, and Kenny Washington. _I Remember_ sounds like a fascinating LP: http://www.jazzhistoryonline.com/Phil_Woods_I_Remember.html The cover looks vaguely familiar to me but I think I must own another LP with a similar cover.

I'm not sure if the discography forum is the appropriate one for this query but none of the others jumped out at me. On the youtube video of Phil Woods Quartet at the Maintenance Shop in Iowa City in 1979, at 46:00 of the video, they begin a tune (following "Along Came Betty") that I'm not familiar with and that Phil doesn't identify. Would certainly appreciate it if anyone can "name that tune." (I pasted the youtube URL into this post and the image below was the result).

Lack of space is correct. I managed to get a copy of the unexpurgated "Smile" track. All of Jackie's opening solo was preserved on the LP issue, but, as heard on the CD, Kenny Drew took (as best I can count--not being a player and "Smile" having, I believe, a very simple AA form) 8.5 choruses. The LP contains the first 2 of those choruses and a skillful edit removed the next 5. The final 1.5 choruses were appended to the first two. I haven't succeeded in obtaining an unexpurgated copy of "Das Dat" but most likely a very similar kind of edit is involved.

I've recently learned that not only does the CD version of Jackie McLean Quartet at the Montmartre, Steeplechase SCCD 31001, contain a track, "Confirmation", that was not on the LP, SCS 1001, but it's also the case that both of the tracks, "Smile", and "Das Dat" run approximately 3-4 minutes longer on the CD than on the LP. Anyone know what was edited out of those tracks as they appear on the LP version? Thanks

I've been aware for more than 30 years that various off-label compilations of Billie's work include a track, "Don't Be Late." For example, as I write this, the allmusic site shows more than 10 CD compilations that include that track. When I used to see used LP compilations that included it in the record bins, more often than not someone had correctly scrawled, "not Billie Holiday." And certainly that title does not show up in, for example, Phil Schaap's Billie discography, one of the appendices to Stuart Nicholson's bio of her. But I have never been able to find out anything about who the singer, and tenor player--not Lester, really are, when or where the track was recorded, and how it originally got into these Billie compilations.

Several Billie Holiday compilations include a track, "Don't Be Late", complete with a Lester-ish tenor. I believe there's universal agreement among even half-way discerning listeners that the singer is not Billie. But does anyone know the story of this track--discographical details as to dates and personnel--and how it came to be included in those Billie comilations?

Did anyone hear the installment of JazzSet the week before last? Tribute to Max Roach in which they ran some tracks from when Max brought the double quartet into the WBGO studio in 1987. The second piece they played is very familiar to me from Max's oeuvre but offhand I don't know the title. And on JazzSet's Website they call it "Unknown title" or some such thing. It's just unbelievable to me that they didn't ask Kenny Washington or somebody to identify the title of that piece. I've uploaded an mp3 of the opening head of that piece to the Web at http://www.msu.edu/~ladenso1/Max.html and will certainly appreciate it if anyone can provide the title to this very familiar Max Roach(?) piece. Thanks

Sort of what I suspected. Thanks Brownie! I saw _Black California, Vol. 2_ lying around today, so checked out its liner notes. That two LP set contains a side-length "What is This Thing Called Love?" from the Elks Concert, with the personnel that Brownie provided. In addition, Bob Porter wrote: "Discographers will want to note that there are two more performances from this evening. There is a long rambling "Perdido" by this group where a third tenor player (not Dexter or Wardell) joins the proceeding..." Has anyone who's heard this noticed that third tenor?

Sort of what I suspected. Thanks Brownie!

I recently became aware that the great Los Angeles Elks Memorial Concert of July 5, 1947 (relying on memory; I think that's the correct date) was reissued fairly recently as a 3 CD set, titled _Bopland_, and that it contains a 20 minute-or-so jam on "Perdido", never previously issued. If anyone could give a personnel listing for that track I'd really appreciate it.

Correct. Yeah. Missed that error in the original post. When Moody did a guest stint on Billy Taylor's late lamented program, Jazz From the Kennedy Center, maybe ten years ago, he related that he had brought up only his tenor from Paris to Stockholm for the date. He was asked if he wanted to use one of the other players' alto and he agreed. So the famous intro you hear, that was vocalized as "There I Go, There I Go, There...I...Go" represented him playing a few bars trying out the instrument. Also, I haven't gone back and checked but I'm quite sure that, though Pleasure and Blossom Dearie got the hit recording, it was actually Eddie Jefferson's lyric.