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brownie
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Posts posted by brownie
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Glad to see that Michael Cuscuna of Mosaic included 'Jada' from the Bob Brookmeyer Traditionalism Revisited session that was missing from the Michael Cuscuna-produced CD release of the album in the West Coast Classics reissue series.
The classic tune was a very nice Brookmeyer-Jim Hall duo which was not included in the Pacific Jazz CD for unknown reason.
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Thanks for the info, wolff. I'll probably be on the Ortega. But why only a 45 of one side? Did they ever issue the entire album?
That Herald 10-incher was a rare item! I saw one so-so copy with a $150 price at a record sale one day. I did not see it when I came back the next day. (was not aiming to buy it at that price!).
The eight tracks are on the Blue Moon BMCD 'A Man And His Horns' with the six tracks from a Vantage album that Ortega recorded in 1954 in Oslo with a Norwegian rhythm section. This was released couple years ago by Fresh Sounds.
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The Charlie Parker at Carnegie Hall 1949 is available on Cool&Blue 105 'Bird at Carnegie Hall'. Cool&Blue is issued by the Fresh Sounds people.
The full broadcast of the Barry Ulanov broadcast with Navarro, Parker, Tristano et al is in the Philology 'Bird's Eyes' CD volume 17. That one may be more difficult to get but worth the search. It also has two other Ulanov 1947 reunions with Dizzy, Bird and Tristano, and various other Bird treasures.
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The Parker section of the Carnegie Hall 1949 concert is out on a Fresh Sounds Parker CD. In full. With more Bird sessions. And probably better sound.
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Well, the Adderleys were from Florida, and you see where Ira Sullivan ended up living, so....
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Brad, I would not touch it. Jazz Anthology was a French label which reissued various material from a number of bootleg labels.
The CD you mention has three tracks (another track is missing) from the Christmas Day 1949 Carnegie Hall concert (with Red Rodney, Al Haig, Tommy Potter and Roy Haynes) plus an incomplete November 1947 Barry Ulanov organised session with Fats Navarro, Bird, Alan Eager, Lennie Tristano, Sarah Vaughan.
The two sessions should be available in complete form - and probably better sound - on other labels.
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This called for champagne. The cork just popped
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A bunch of Happy Birthdays to all Jazz Groovers!
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A final note. The reason why I went for this set (and might invest into remastered Brown/Roach releases in the future) is simple: "Jordu" was instrumental in getting me completely hooked on jazz. I played my dad's old LP thin just listening to that tune, and it is still at the very top of my all-time best-of list after all these years.
Deus, if you like the studio version of 'Jordu', get the GNP album 'The Best of Max Roach and Clifford Brown in Concert'. The concert version of 'Jordu' is even better. Clifford Brown smokes on that one. The concert was held a few days after the record session. That concert version of 'Jordu' got me started on a Brownie kick of which I still bear the stygma. Heard this shortly after it was recorded. That 'Jordu' was a minor hit in France at the time. Hell, I even remember when the tune was known as 'Minor Encamp'.
If you don't know the concert version of 'Jordu' blow what's left of your money. You'll never regret it!
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Thanks for the link, Claude.
I guess I'm hoping that the Tony Scott reissue will be his 1958 Coral album, 52nd Street Scene. Wouldn't his Victor work make an excellent Mosaic project?
That '52nd Street Scene' Coral album is a marvel. Tony Scott picked great musicians for the various sessions: Joe Thomas, Higginbotham, Pee Wee Russell, Pettiford, Denzil Best for the early scene tracks, Red Rodney, Jimmy Knepper, Al Cohn, George Wallington, Pettiford, Roy Haynes for the bebop scene. Plus others.
And I'll second the Mosaic Tony Scott RCA box. There were also a lot of superb music there.
Wish I could get excited about his Verve albums but I can't! I'm not zen enough!
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Don't have time to list the personnel for each tracks. Too many personnel changes.
Recording dates of the various sides are as follows:
- Moon Mist, January 1957
- Skiipoop, Banquet Scene, March 17, 1956
- Rod LaRoque, Love Scene, April 14, 1965
- Rhythm Section Blues, April 14, 1965 (trio side with John Lamb and Sam Woodyard)
- Countdown, When I'm Feelind Kinda Blue, El Viti, August 30, 1965
- Draggin' Blues, Cottonhead, Now Ain't It, The Last Time Around, December 29, 1966,
- Lele, Acht O'Clock Rock, Lady, Rondolet, July 11, 1967
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Of course, those wax paper sleeves weren't too durable; hence, the introduction of paper sleeves. Actually, $200 isn't unreasonable for a nice copy of that Miles title. But look at the other auctions: an annihilated copy of the Rocky Boyd on Jazztime. I'd be afraid to see what a NM copy would do...
I still have quite a number of these Prestige (including the four Miles Davis-Coltrane quintet LPs) with the waxpaper sleeves and most of them are holding pretty well. Most of those sleeves did as long as you were careful with them when you inserted the vinyl back into the record cover.
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Yes, what's this business about 'locked grooves' on 'Escalator Over the Hill'?
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Wouldn't the Tony Scott album be 'Music for Zen Meditation'? This has been one of Verve's constant bestseller.
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And the reason for them not letting you enter, was...
Your race?? Were you dressed in uniform?? Both?? Neither - but some other reason??
I'm not understanding.
Rooster, I was the only non-black person in the vicinity.
And I was dressed casual. All the men were dressed in black uniforms. All the women were in veils (my memory is that most of them were in white).
Hope the3y all dug the Jazz Communicators.
I was not given a reason for not being allowed in but I would say race was definitely a reason.
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Up.
Have yet to see 'Cercle Rouge' again.
But I have the soundtrack CD issue.
In his liner notes to the CD, film music composer Eric Demarsan recalls that director Jean-Pierre Melville asked him for a music that would be similar to the soundtrack John Lewis created for Robert Wise's film 'Odds Against Tomorrow'.
The CD does not identify all the musicians in the big band that performed the music but lists the following soloists:
Daniel Humair, dr, Guy Pedersen, b, Georges Arvanitas, p, Bernard Lubat, vib, Raymond Guiot, fl, Joss Baselli, accordion.
Solos by a trombone and a tenorsax players remain uncredited.
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Three I missed.
- The Miles Davis quintet concert at the Olympia theater in Paris March 21, 1960. The one where part of the audience went hostile to John Coltrane's new music.
I had been in the French Army for three weeks when the concert was to be held. I was stationed west of Paris and had made elaborate arrangements to attend the concert even if young draftees were not authorised to leave the army barracks at night. I was about to make a long ride to Paris when my unit was ordered to assemble for a night march. Had to wait four years before catching on Coltrane live.
- September 1967 in New York. Freddie Hubbard and Joe Henderson were starting their Jazz Communicators band. A friend at Atlantic Records made arrangements for me to attend a debut concert by the group at a benefit for Elijah Muhammad's Nation of Islam. The benefit was at the Apollo in Harlem. Went there and made my way inside the theater until I was stopped by tough-looking attendants. There was a long, animated talk. Was told very firmly that there was NO way I could enter the concert hall.
When I walked out, found myself in a commotion while Muhammad Ali made his way inside (that was at the time Ali made national headlines when he refused to be fight the War in Vietnam). Ali looked great!
Never got to hear the band which unfortunately never made a record.
- September 1980 in New York, again! On the eve of my flight back to Paris, I went to Fat Tuesday's where Bill Evans was scheduled to play. When I arrived, there was a note at the club entrance announcing Bill Evans would not play that night. Back in Paris, I learned Bill Evans had just died
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How is that Blakey Limelight record (S'Make It)? I've thought about picking that one up from time to time.
I have the original mono LP and those Limelight albums were plain beautiful objects. One of the first label to have foldout covers with strong original designs.
The Messengers do great on the album. Lee Morgan and Curtis Fuller have most of the solo space and they are just fine. John Gilmore solos on only three sides and shows a Messenger inclination. I hear some Stanley Turrentine in his playing. Nothing wrong with that as far as I am concerned.
Another Gilmore sideman appearance that I missed in my previous post:
Paul Bley 'Turning Point' on Improvising Artists.
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Fresh Sounds also previously issued the 'Pepper Adams Plays Charlie Mingus' album that was originally on Workshop Jazz.
Glad to see those very rare Workshop Jazz albums being reissued.
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I started appreciating the 'Biggest Little Band In the Land' when French CBS released all their Okeh/Vocalion sides in three LP albums in the mid eighties. Great material but I take this in small doses. Prolonged playing leaves me a little numb. But that's on these sides that I learned to appreciate the works of Charlie Shavers. A great trumpet player if ever there was one.
I listened to a number of Shavers solos during his JATP days but thought the man was a bit of a showoff at the time. After listening to those Kirby sides, I knew better. I now rank Shavers among the trumpet kings.
I have also enjoyed a couple of the Kirby reissues - the Associated transcriptions material - on the Storyville label. Several sides make me happy.
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My very first concert was in early 1953 at a French radio jazz concert. A Sunday morning concert with French musicians. Can't recall who was playing except for the Tony Prouteau big band.
But my second concert I remember some of it quite clearly. Same year but in September. That was the Lionel Hampton big band on their initial European tour. THAT band with Clifford Brown, Art Farmer, Quincy Jones, Jimmy Cleveland, Tony Ortega, Gigi Gryce, Clifford Scott, Alan Dawson etc.
George Wallington and Annie Ross were already out of the band by the time it hit Paris.
I loved the Hampton antics then. The vibes, drums and piano bits by the Master. And I loved it when the musicians marched through the aisles of the Palais de Chaillot concert hall during one of their numbers (probably 'Flying Home').
I know now that the musicians hated all those antics and those parade through the hall. But for the kid I was, this was enthralling...
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I've already mentioned on another thread about Helen Merrill that one of my very favorite album of hers is the 'No Tears, No Goodbyes' duo album with Gordon Beck that was made for Owl. Pretty sure this was reissued recently.
I'll second Mr. Sangrey with the opinion that the second Gil Evans/Helen Merrill 'Collaboration' was even better than the original one. A rare case of a reinterpretation doing one better on a remarkable original.
And I have enjoyed that Helen Merrill/John Lewis date (a Japanese Mercury LP) for years.
But I also love Helen Merrill's appearance on 'You'd Be So Nice To Come Home To' and 'Didn't We' on another Japanese Mercury LP 'Billy Eckstine Sings with Benny Carter', a beautiful album which was probably Mr. B's final appearance on a record.
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Couple additional John Gilmore appearances as sideman:
Art Blakey 'S' Make It' on Limelight,
Phil Upchurch 'Feelin' Blue' on Milestone.
Gilmore also made an European tour in the mid-sixties with Art Blakey. I've got a video somewhere of Lee Morgan and John Gilmore and the Messengers playing at a concert in England.
And John Gilmore co-led an album with Dizzy Reece in Paris in 1970 for the Futura label. The album was titled 'From In To Out'. Futura reissued a number of albums on CD but not that one.
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Both have been mentioned but I'll add in that they are among Getz very best albums:
'The Peacocks' Stan Getz Presents Jimmie Rowles. This is a mesmerizing record. Beautiful Getz-Rowles duos (a made-in-heaven collaboration) plus Buster Williams on bass and Elvin Jones on drums!
'Dynasty', Getz at his most inspired with a great European quartet with Rene Thomas on guitar, Eddy Louiss on organ and Bernard Lubat on drums. Recorded live and all in top form!
Norman Howard
in Artists
Posted
Anybody knows what happened to Norman Howard who played trumpet on one of Albert Ayler's first album 'Spirits' (also known as 'Witches and Devils')?
Howard was from Cleveland, same as Ayler. They were childhood friends.
The 'Witches' album seems to be Howard's only record appearance except for a November 1968 date he led for Homeboy Music and which obviously had very limited ditribution. It is mentioned in Tom Lord's Discography.
That Norman Howard session was recorded in Cleveland with local musicians.