brownie

That's Scott Wenzel! Very helpful person, indeed!

This was another reason why I did not like the film at first. Many scenes were shot at the Satory military camp, near Versailles, which I instantly recognized the first time I saw 'L'Armée des Ombres'. Brought back still fresh memories of a dreadful week of army maneuvers there soon after being called up for army service. The scars have healed since and I can watch the movie without adverse prejudices and enjoy it for the masterpiece it is!

Daniel A, I was not aware of the Japanese connection for the Bruyninckx categorized books! Also thanks for reminding me of the previous Bruyninckx threads, but they only confirm that at the present time the Lord seems to be the only accessible online Discography.

Eric Dolphy 'Last Date' (Limelight, mono, gatefold cover)

It could not have happened to a less deserving person. Have absolutely no idea how I did it or what happened But I am delighted with a totally unexpected win! The gift certificate will most surely be used to help acquire the recent Lionel Hampton box!

This brouhaha reminds me of the Charles Delaunay-Hugues Panassié dispute that erupted after the end of WWII. Never liked the Bruyninckx discography which I acquired when it came out in dozens of books in various series (Modern Jazz, Traditional Jazz, Fusion, Modern Big Bands, Vocalists, etc...). Thoroughly unpractical (Buddy Rich is listed in Modern Big Bands, Lalo Schifrin in Modern Jazz ). And when the digital version came out I abstained without any regret. O yes, Lord borrowed from others but all the discographers I know and have met (Delaunay, Francois Postif, Kurt Mohr - who died last month - Otto Fluckiger, Jorgen Grunnet Jepsen among others) did exactly the same thing. Not that I am looking for it but where is the Bruyninckx discography these days? If somebody is interested in acquiring the book versions (some 30 volumes) of the Bruyninckx Discography, I'll gladly get rid of the complete set I have. I'll accept any reasonable offers

Indeed. Such a great movie. Lino Ventura was terrific! Melville should have gotten awards for this film. Instead, the French critical establishment dumped on him for being "Gaulist." The French, they are a funny people... The film was released at a time (1969) when anti-gaullist sentiment was growing throughout France. 1969 was when de Gaulle retired from power after one of his referendums was not approved by French voters. I remember not being very enthusiastic about the film when it was released even though I was a big fan of Melville. I began to appreciate 'L'Armée des Ombres' much later and rarely miss occasions now to get a new look at it when it plays here which is pretty often.

Allen, if you're using French charlatan, the proper word should be the feminine version charlatane. Don't like Madeleine much but she is no worse than a whole bunch of other current jazz chanteuses!

Laurent Bourdon's 'Dictionnaire Hitchcock' A very thoroughly researched book for fans of Hitchcock!

Paul Quinichette 'For Basie' (Prestige/OJC) with Shad Collins, Nat Pierce, Freddie Green, Walter Page and Jo Jones

Al and Zoot in 1968 with Stan Tracey, piano, Dave Green, bass and Phil Seamen, drums.

John L., everything that was on volume 3 of the King Jazz series is on that JSP Volume 3 set (discs 2 and 3). Did not investigate those Fats Waller King Jazz CDs since I was foolishly hoping at the time that Orin Keepnews would do the job right when he started the BlueBird Fats Waller reissues series in the early '90s. Those JSP sets are the way to go for fans of Fats Waller!

Charlie Parker 'Bird at the Roost - The Complete Royal Roost Performances, VolumeOne' (Savoy)

Nice article in The New York Times Sunday on Roswell Rudd's home! http://travel.nytimes.com/2007/11/23/trave...?8td&emc=td WHERE THE MUSIC SURROUNDS HIM By Lisa A. Phillips IT had been a whirlwind couple of weeks for the trombonist Roswell Rudd: a performance in Berlin, a recording session in Brussels and, just hours after he got off the plane in New York, a master class and concert in western Massachusetts. At the end of it all last month, he retreated to his second home in Kerhonkson, N.Y., at the southern edge of the Catskills. “This is where I feel sheltered, protected,” he said. “It was so good to come inside, have a hot bowl of soup, get in bed. I can hear the birds, the wind in the trees. The stars are easily visible. It feels safe.” Mr. Rudd was a central figure in the avant-garde jazz scene of the 1960s and 70s. After a long career slump, he has re-emerged in recent years with a series of critically acclaimed collaborations with musicians from around the world. The driving forces behind his comeback, he says, have been his partner, Verna Gillis, an ethnomusicologist and music manager, and the creative energy he gets from their Kerhonkson home and the 21 acres of forest that surround it. “This place has given me a new start,” he said. “It’s been one of the biggest gifts of my life.” On a chilly fall afternoon, Mr. Rudd, who is 72, wrapped a scarf around his neck and carried his trombone into the woods. A crow cawed, and he played a piercing, staccato sound in reply. Then he pointed his trombone at the brilliant yellow and red leaves falling from a stand of trees and made a gentle fluttering sound. “I just consider all this some kind of cosmic musical notation,” he said, gesturing around him. “I’m playing what I feel and what I see.” Musical synergy also happens inside the modest wood-sided house and in Mr. Rudd’s studio. One December night a few years ago, Mr. Rudd got word that two Mongolian throat singers were giving demonstrations at local schools. He tracked them down, and two days later Odsuren, a master throat singer, and his student, Battuvshin Baldantseren, were settled in his living room for a jam session. Both trombone playing and throat singing rely on combining strong bass notes with high harmonic overtones, Mr. Rudd said, so the result was “an acoustician’s dream.” That collaboration led Mr. Baldantseren to return two years later with his group, the Mongolian Buryat Band, to record an album, “Blue Mongol” (Sunnyside), with Mr. Rudd in 2005. Last summer, he toured with them in Mongolia and Siberia. The house’s spacious living room is the usual musical gathering spot. A grand piano sits in its center, beside a tall, colorful drum from Nigeria. The room also serves as Ms. Gillis’s office, so the music-making sometimes moves out to Mr. Rudd’s studio. Ms. Gillis, 65, has been coming to Kerhonkson since 1978, when she and her late husband, Bradford Graves, a sculptor, bought a cabin and a Civil War-era barn on 50 acres for $50,000 with her brother, David Gillis, and his wife. Ms. Gillis, who does not have children, wanted to spend more time with her brother’s three children. “Anywhere they were,” she said, “I would have gone.” After her brother and his wife divorced and moved away, Ms. Gillis kept 21 acres. She and Mr. Graves built the house in 1988, using his cottage design. At first, it was only 800 square feet: a bedroom, bathroom, dining room and kitchen. The living room nearly doubled the size of the house when they added it in 1995. Ms. Gillis had known Mr. Rudd since she was a graduate student at Goddard College in Plainfield, Vt., in the 1970s, studying with the musicologist Alan Lomax. Mr. Rudd, then working as his assistant, supervised her master’s thesis. The two kept in touch over the years, as Ms. Gillis made a name for herself as a music manager and producer of indigenous music recordings from Asia, the Middle East and Latin America. He performed at Soundscape, a loft performance space she ran in the 1980s on 52nd Street in Manhattan, and at a performing arts center she founded at the former train station in Accord, near Kerhonkson. “I always liked Roswell,” she said. “He was one of those people you looked forward to seeing.” Meanwhile, Mr. Rudd’s career had stalled. He moved upstate with his wife and two children, living in and around Woodstock. After a couple of college teaching gigs, he worked several odd jobs, including playing with a band that accompanied comedians, fire-eaters and cabaret acts at the Granit Hotel, a resort not far from Ms. Gillis’s home. Then, in 1998, Mr. Graves died. Less than a month later, Mr. Rudd’s wife had a stroke and moved into a nursing home. “We both had big losses,” Ms. Gillis said. “We had more in common with each other than with anyone else we knew. That was a real bond.” Mr. Rudd, who was widowed in 2004, began spending more time with her in Kerhonkson. He “knew how to be in a house,” she said, at ease with cooking and other domestic routines. And he didn’t blink an eye at her penchant for collecting, calling the salt-and-pepper shakers, vintage dresses, Nigerian doors and other loot she’d gathered “marvelous things.” He also felt at home among her late husband’s abstract limestone sculptures, which stand in the living room, his studio, a storage barn and an open-air pavilion built to store them. Mr. Rudd, who was a close friend of Mr. Graves and used to perform at his art openings, says the sculptures inspire his music. “All of these shapes talk to me,” he said. As Mr. Rudd’s relationship with Ms. Gillis grew, he realized she held the key to fulfilling a longtime dream: collaborating with international musicians. Ms. Gillis, who helped start the careers of Youssou N’Dour and Paquito D’Rivera, among others, connected him to Toumani Diabate, the Malian kora player. Mr. Rudd traveled to Mali in 2000 and 2001, and their partnership led to the release of the album “MALIcool” (Sunnyside) in 2003. A rash of similarly ambitious collaborations followed. Mr. Rudd has performed with Li Xiaofeng, a Peking Opera star, and recorded with the Latin music virtuoso Yomo Toro. He has spent a lot of time in Africa and Asia in the last decade, but the warmth of his Kerhonkson home has also brought many musicians to him. Members of the Gangbé Brass Band of Benin once drove all night after a gig in Detroit so they could start rehearsing in his living room first thing the next morning. These days, Mr. Rudd and Ms. Gillis split their time between Kerhonkson and their one-bedroom Manhattan apartment at Seventh Avenue and 25th street in Chelsea. The couple added a small back porch this year and a second bedroom and bathroom, with a Japanese-style soaking tub that includes a view Mr. Rudd treasures of a weeping birch tree. Mr. Rudd, who had been living full time upstate before their relationship began, savors the interplay between city and country. Growing up in Lakeville, Conn., he couldn’t wait to live in New York, but after years in the city, he craved the woods. Yet once he moved to the Catskills, he missed New York and its jazz scene. Now, he has both worlds. “When I get down to the big morass of energy down there, a lot goes out and never comes back,” he said. “This is where I recharge.” That the Granit Hotel (now the Hudson Valley Resort and Spa), the place he made his living in the years when he was out of the jazz limelight, is just a five-minute drive away does not haunt him, he said. “Struggle is life,” he said. “I’ve had plenty wherever I’ve gone.” There is far less struggle these days, and he gives credit for that to Ms. Gillis and their Catskill refuge. “This place is just an improviser’s dream,” he said. “When improvisers get gifts like this when they’re playing, when suddenly there’s a flash and something opens up, you just have to go with it. That’s what this experience is here with Verna. We’re just going to take it to the stars.”

That French label MUSICA was in operation for a few years only (in the late '70s) but it provided a very valuable collection of interesting albums. Some of the best included sessions by Joe Albany, Chet Baker, Jimmy Gourley (with Stan Getz), Al Haig, Steve Lacy, Jimmy Rowles, Mal Waldron and others. It appears that none has been reissued yet. Hope that the catalogue falls into good hands soon so that these sessions resurface.

Fats Waller 'The Complete Recorded Works, Vol. 3' (JSP), discs 3 and 4

It's good. And rare nowadays. It's actually on the Musica label which was based in the city center of Bordeaux. Our son currently lives on the street where Musica ran a record store. Musica is out of business by now, so is the record store

Ernie Henry 'Presenting' (Riverside, mono, blue label)

Does the cat associate with jewish cats?

I should add that the Lord (I subscribe to the online version) is very easy to handle, even for this computer idiot

Fats Waller 'The Complete Recorded Works, Vol. 3' (JSP, discs 1 and 2)

It's out and it's pure bliss

I'm like Bluerein. And happy with the Lord! No discography can be complete If I see something that is not there and have details on it, I email to the Discography site and help contribute.

Buck Hill Quartet 'Easy To Love' (SteepleChase) with Reuben Brown, Wilbur Little and Billy Hart

Baronet was a budget reissue label. That Jonah Jones session is excellent. It was originally released on Jazztone as by Sammy Price. Beside Jazztone, Baronet also released material from Dial and Roost on other LPs.