brownie

At the very least, they keep the catalogue alive!

It's not big... It's huge!! Seems what we do a lot things texan-style nowadays. Longest bridge, biggest plane! Wouldn't be surprised if that Airbus flies over the nearby Millau bridge on its first flight next March!

The new Airbus A380 superjumbo is unveiled today in Toulouse, southern France. From BBC http://news.bbc.co.uk/1/hi/business/4183201.stm

EKE, these are the sides Hawkins and his men recorded for the Jazztone label on November 8, 1954. Missing from the reissue are 'Honeysuckle Rose', 'Undecided' and 'Time On My Hands'. And it's 'Blue Lou' (not Blue Love) of course. The session was previously reissued on Xanadu as 'Jazz Tones'. 'Time on my Hands' is listed as missing from that reissue.

Errol Parker = Ralph Schecroun (also Raph Shecroun)

Yes- originally 2 LP's, then on one CD. The cover art is 'Les Musiciens d'Amsterdam'. Painting by Mary Moor. Fans of Barney Wilen will know who that is! Hope Lonehill got hold of the original Celluloid double LP, the initial release from 1984. Understand the reissues had a damaged version of 'Well You Needn't'.

I received only one disc

Offer still available! So is it $60, or $30? Ghost, it is $60 NOW. It was $119 originally. Believe me, it's worth every cent! When you get it, you'll find out how good a value it is

Then you must be Anatol Schenker! A very heart welcome here. And thanks for filling us on the series developments. Looking forward to see the next batch of Chronogical Classics soon! This is a fantastic collection

Spinning now: - Father and Sons, a gospel anthology from Spiritfeel records. With tracks by R.H. Harris and the Soul Stirrers, Archie Brownlee and The Original Five Blind Boys of Mississipi plus Julius Cheeks and The Sensational Nightingales... next: - Marion Brown 'Back to Paris' (Free Lance)

I have not heard many albums by Bernt Rosengren but everytime I have listened to this tenor saxophonist I was stuck by his talent and his conceptions. His 'Inside Pictures, Tribute to Lars Gullin' album on Mirrors was a revelation. Rosengren is also featured on a number of sides from the volume 9 of the Svensk Jazzhistoria box on Caprice!

E-mail sent!

The Paris stores seemed to be restocked last week. One secondhand shop had several of the new releases for €8 ($10) each. All still sealed. They're gone by now!

O-roo-nee! Yes, get this one before it redisappears...

January 17, 1938 The first session for the new label Commodore. By Eddie Condon and his Windy City Seven Bobby Hackett, George Brunis, PeeWee Russell, Bud Freeman, Jess Stacy, Condon, Artie Shapiro, George Wettling. Session produced by Milt Gabler. - Love Is Just Around the Corner - Beat To The Socks - Carnegie Drag - Caqrnegie Jump - Jada

The Frank Wess opening phrase sounds to me rather more an extrapolation from him on the riff played by the band. It's true that this entrance is a bit abrupt but I do not hear anything really doctored. The take number on that 'Every Day' is -2. They did not seem to have too many problems recording this. The next number on that date 'Party Blues' (with Ella, Williams again) bore take -5...

I tend to presume Golson's memory should not be questioned. But the truth of the matter probably lies in the phrase 'Blakey remained silent through all this, acting like he knew nothing of it.' I was not involved in any of these business dealings but I am sure Blakey knew exactly what was going on! And Filipacchi made another deal later with Blakey which enabled him (and French RCA) to release the November 15, 1959 concert at the Theatre des Champs-Elysees (with Wayne Shorter having replaced Golson). Golson should have been happy however with the royalties money he got when Filipacchi and Frank Tenot played his Blues March every night for at least a couple of years at the beginning and the end of each of their radio show!

No way. I was at the Club Saint-Germain on the night the proceedings were recorded. Lucky you. But did you have sing Wade in the Water so loudly during Timmons' solo? Twasn't me B-) There was a lot of shouts coming from a table close to the bandstand. Hazel Scott and Mae Mezzrow (Mezz's wife) were very loudly digging the sounds Think that's who got heard on the records...

Your Jo Basile was our Joss Baselli, a highly regarded accordion player. I know his playing on several of French singer Barbara's best albums. Barbara succeeded Edith Piaf in the heart of French popular singers. And her songs were much better. Also she very carefully selected the musicians she played with, particularly her accordion players. Baselli was hired by Barbara early in her career and set the tone for her accordion accompaniments. Michel Portal, Richard Galliano, Michel Gaudry were among the jazz players that were among Barbara's accompanists.

No way. I was at the Club Saint-Germain on the night the proceedings were recorded. The recording equipment was set up on a gallery in the back of the club in full view of everybody. The musicians were perfectly aware of the recording and I am also sure they were paid for the recordings. Producer was Daniel Filipacchi who also organised several of the Jass Messengers Paris concerts at the time. Filipacchi was then MCing the very popular 'Pour Ceux Qui Aiment le Jazz' show every night at 10 for the Europe 1 radio station. Theme song for the show was the Messengers 'Blues March' which became a hit in France. He was also an A&R man at French RCA. Filipacchi (and partner Frank Tenot) also organised - with the help of the Europe 1 radio station - the concerts that were later released on the RTE Trema label. The original editions of these legit albums (more concerts by the Blakey Messengers, Miles Davis, Count Basie, Oscar Peterson, Jimmy Giuffre and many others) bore the Europe 1 logo!

Chris, the liner notes by Bill Coss to the Verve 'Metronome All Stars 1956' vinyl I have describe the proceedings rather accuratedly: 'Then Joe Williams entered the picture. Confusion reigned for almost an hour, because no one could decide what Joe and Ella should sing together. All of them ran through Too Close For Comfort, Salty Lips and a number of blues, none of which satisfied us, finally coming back to the original choice of Everyday, the band playing with a fantastic, whip-snapping quality, Frank Wess noodling wonderfully through the first chorus.' Does not sound premature but pretty well planned and very nicely done!

Jim, I am no expert on accordion. Don't even have a passion for it in general. Probably because I heard too much of the instrument years ago. The accordion was the ever present sound in everyday life when I was growing up. Accordion-led musettebands were omni-present at popular French dances, not rock or jazz! Gus Viseur is highly thought of but I feel the same way as you on rehearing some of his records. Tony Murena was another musette player who dabbled in jazz. Don't know that Joe Basile album. The first accordion player I really liked was Marcel Azzola. He appeared on a number of Jacques Brel's hits. Azzola's participation in one of Brel's best song 'Vesoul' is a classic! First jazz accordion player I appreciated was Pete Jolly who recorded a couple of albums on the instrument. Then came Tony Argo who had a rare album under his name on Savoy that should be reissued! Then was turned on by Clifton Chenier's zydeco accordion. Chenier records deserve to be relistened to! There's great dance music in those! Galliano is in a class by himself. He is the first one since Astor Piazzola to go beyond the instrument and making liberal use of his conceptions. I wish he would record with Martial Solal. The two would be a perfect match!

They are little boxes symbolizing rank which people like 7/4 use as a substitute for writing posts with any real content.

pity. Do you think catesta is looking? Catesta's cool. He blah blah blahs nicely

oh yeah? name two! I dare you... Oh yeah?!? You and I. That's two. I won't name others that do only blah...