brownie

Bobbi Humphrey's 'Flute in'. A nonet date with Lee Morgan, Billy Harper, Hank Jones among others.

'Utter Chaos' was indeed Gerry Mulligan's signature theme. He played it at the end of most of his sets. And this from the very start of his 1952 quartet with Chet Baker. A couple of short versions are in the Gerry Mulligan Pacific Jazz/Capitol Mosaic box. The tune is listed there as being in the public domain. Mulligan would play longer versions if the mood was right.

Vincent, not only are we on the same timetable, we're also on the same wave length

The Paris Concert Jazz Band 2CD that was issued is not a bootleg. The album was issued as part of a series albums of concerts organised by the Europe 1 radio station. Those concerts were produced - with Norman Granz' full cooperation - by Frank Tenot and Daniel Filipacchi who were mcing a very popular radio show at the time. They were recorded by Europe 1 technicians and were broadcast right after each of the concerts. Filipacchi went on to build the Filipacchi publishing empire in Europe and the USA while Tenot became publisher of Paris-Match magazine. Granz was a partner in most of these concerts but he obviously did not give publishing rights to all of them. No record of the Paris Ella Fitzgerald concerts produced by Tenot, Filipacchi and Granz has surfaced to my knowledge. Other albums in the Europe 1 series included concerts by Miles Davis (the famous 1960 Olympia concert with John Coltrane), Thelonious Monk, Duke Ellington, Count Basie, Cannonball Adderley, Oscar Peterson, Art Blakey's Jazz Messengers, Lionel Hampton, Sidney Bechet, Jimmy Smith among others. These were initially released on the Europe 1 label. They have been reissued about three years ago in France by the Trema label which added several albums from the concerts including a third CD of the Blakey Messengers with Lee Morgan and Wayne Shorter and a Jimmy Giuffre concert CD. And CDs from these concerts keep being issued by various labels (including those that show on the Delta site that Claude posted) all the time, it seems.

Al Hibbler is one of my very favorite singers. He was the best male singer to perform with the Duke Ellington orchestra. With the exception of Herb Jeffries, I don't care much for the other Ellington singers. But Hibbler!! What a voice! And the vibrato in his voice, his phrasing... His records have always been difficult to find outside of the USA. Glad that Chronogical Classics has started an Hibbler series. First volume had the 1946-1949 sides. A second volume (1950-1952) has appeared here recently. The sides are splendid but the liner notes fail to identify musicians appearing on some of the sessions. For anyone who is to purchase or investigate this release, here are some of the musicians that appear and are not (or wrongly) listed: - the Atlantic April 1950 sessions (with Billie Kyle and his orchestra) has Harold Baker, Tyree Glenn and Lucky Thompson in the lineup. Baker and Thompson have solos, - the Atlantic October 1950 sessions (with Billy Taylor's Orchestra) has Taft Jordan, Tyree Glenn, Paul Gonsalves, Junior Raglin and Sonny Greer, - the Atlantic June 1951 session (with Jimmy Mundy's Orchestra) also has solos by Paul Gonsalves. The Atlantic sessions details are from the liner notes to the Atlantic CD previous release of Al Hibbler material 'After the Lights Go Down Low'. - the Mercer July 1951 session had Max Roach on drums (not Louie Bellson as wrongly indicated). What a great lineup these Mercer sessions had! Three sessions, three alsosax players: Johnny Hodges, Bennie Carter, Willie Smith. Couldn't get better.

This record has nothing to do with Uptown. They didn't even exist then. Thanks for the complement anyway. What's wrong with me? That Charles Tyler LP bore proudly the Nessa label (not Uptown). Thanks again!

Turns out that nutritionist Victor Conte who is at the center of this is also a jazz/rock musician (bass and bass guitar) who has played with Don 'Sugarcane' Harris, Tower of Power and Herbie Hancock. Small world!

The next few days should be interesting for those who are concerned with the widespread use of drug-related performance-enhancing substances in sports. This from AFP:

Suggest you get the Clifford Brown 'The Complete EmArcy' 10CD box that has Max Roach all over the place. Or almost. The box has all the material from the Clifford Brown-Max Roach quintet EmArcy. You have not heard Max Roach if you have not listened to those. And you get Clifford Brown, Sonny Rollins, Dinah Washington along.

Coming in late. But very sincere best wishes for the next birthdays!

JJ Johnson - J is for Jazz (Columbia LP) Charles Tyler - Saga of the Outlaws (Uptown LP. Thank you Mr. Nessa for releasing this!) Art Ensemble of Chicago - The Pathe Sessions 9American Jazz in Paris CD) Jaki Byard w. Roland Kirk - The Byard Experience (Prestige LP) Jimmy Smith - House Party (RVG)

I'll join in! More music from the best Electric Miles band! Let's get Winter over and bring in Spring 2004 right away...

Bertrand, Corneau did not have film of Bud Powell. Corneau traveled with another friend Daniel Berger who took photos of Bud Powell in that rat-hole. Unless I'm wrong, the photos were published in the French edition of the Francis Paudras book on Bud Powell 'La Danse des Infideles'. Corneau and Berger both hailed from Orleans and had met Ayler when he was stationed at the US Army base outside the city.

This was widely available as a bootleg LP years ago. It was recorded at a concert during a 1963 or 1964 tour by Max Roach and Abbey Lincoln with Clifford Jordan, pianist Coleridge Perkinson and bass player Eddie Kahn. Caught Roach et al at the Paris concert which was OK. The bootleg was probably taped at that concert. I thought the Candid Freedom Now Suite was way better. Did not buy the bootleg and stuck to the original. No match there.

The Booker Ervin-Larry Young that appeared on the Pony Poindexter/Ervin CD is a real beauty. Sublime but too short session. A non-BN Larry Young session that needs to be listened is the Joe Chambers 'Double Exposure' duo date that came out on Muse. Another beauty!

I can't recall any equivalent to the impact of hearing Albert Ayler's music live. The full blast of his (and his players') sound just about shattered the ears and had your mouth wide open in amazement. The impact was overwhelming. You loved it or you hated it. I loved it and wish I had heard him more often than on the two occasions I caught him live. The sheer volume (without any elaborate amplification) went beyong anything I had heard before or have heard since. And that music had everything: joy, melancholy, beauty. It was exhilarating. Instant mindtherapy. First time I heard him was at the recording session for 'Spirits Rejoice' in September 1965. Two photos I took during the session are in the Bands Photos of the Ayler site mentioned earlier. I was in New York at the time exploring the new music that was being produced there and met most of the musicians involved including Ayler. I had caught the Ayler fever a few months before upon hearing 'Spiritual Unity' which heralded an unique new voice and then 'Bells' which was even more infectuous. ESP's Bernard Stollman was a big help in locating many musicians. No problem locating Ayler since he and his brother Don were staying at Stollman's parents home on Riverside Drive at the time. I talked at length with Albert Ayler at a party which was held shortly after the session. He had a lot of memories of his stay - when he was in the Army - in Orleans, France in 1960. He also mentioned traveling to Paris to jam at clubs whenever he could. I was pretty familiar with that scene but I had missed his appearances since I was a conscript in the French Army in Algeria at that time. When the Ayler band played at the 1966 Paris Jazz Festival in 1966, I went to the hotel he and his band were staying to pick him up and head to the Salle Pleyel for the concert which is out now on the HatArt release. The Paris audience reaction to Ayler's music was interesting. The whole audience was stunned. A number of people could not stand it and went vocal with their disapproval but it did not last very long. In fact most of the audience went wild. Cecil Taylor was at the concert. He congratulated Ayler at length when they met after Ayler's appearance. When Ayler appeared at the 'Nuits de la Fondation Maeght' concerts in Saint-Paul de Vence, on the French Riviera, in late July 1970 I tried to go there but could not leave Paris because of work commitments. And when Alain Corneau, a friend who turned into one of the most well-know French film directors, called me at my job from Nice airport after the concerts to ask if I could rush to Orly airport to help Ayler and his musicians through the airport to catch their plane home I had to tell him I just could not since I was in the middle of a very busy assignment. It still hurts when I remember I could not make it to the airport. That was just four months before his death.

Gave a listen to Solomon Ilori's BN album last night and really enjoyed it. Certainly different from standard BN fare. African Highlife it was. Guess it would be labeled World Music by now. The musicians include the intriguing reed player Hosea Taylor who is featured on most numbers on altosax and flute. A fresh and authentic voice. Taylor made another appearance on Blue Note when he took part in a March 1966 Freddie Hubbard session that was cut short after two tunes were recorded. The two tracks were added to a CD reissue of Hubbard's 'Blue Spirits'. Hosea Taylor solos - on bassoon! - on 'True Colors. A farout solo that comes after a Hubbard improvisation and is followed by another farout solo by Joe Henderson.

It's an interesting African-rooted percussion date. Not really your BN typical but not an oddity either since BN was recording various African-inspired sessions (Art Blakey's 'Orgy in Rhythm' and 'Holiday for Skins' sessions and on a more latin-based percussion mood Sabu Martinez' 'Palo Congo' come to mind) at the time. Solomon Ilori also appeared on another BN album: Art Blakey's 'The African Beat'. Haven't given the Ilori 'African High Life' LP a spin in a long time.

Tijuana Moods

Stan Getz - The Lost Sessions (Verve) Jo Jones - The Drums (Jazz Odyssey double LP) Duke Ellington - Piano in the Foreground (French Columbia LP) Lee Morgan - Caramba (BN) Anthony Braxton - Eight (+3) Tristano compositions (HatArt) Gil Evans/Lee Konitz - AntiHeroes (Verve)

Davef already mentioned Lou Bennett's dates with Rene Thomas but the very best Lou Bennett album is the first one the Philadelphia organist recorded after arriving in Paris in 1960. The album 'Amen (with Jimmy Gourley, Jean-Marie Ingrand and Kenny Clarke) became an instant hit over here. It's still available from RCA/BMG. Highly recommended session. And it grooves!

The Django Reinhardt stamp that b3-er just dug up is another Raymond Moretti stamp that was issued before his 6-stamp series I mentioned.

The French Post Offices issued last year a series of six stamps on jazz greats (Louis Armstrong, Sidney Bechet, Duke Ellington, Ella Fitzgerald, Stephane Grapelli and Michel Petrucciani) by Raymond Moretti, an artist I don't like much. Couldn't find images of them.

Excellent idea for a thread! Ibrahim is an artist I have neglected (for no particular reason) in the past years. Was a great fan of him when his records were issued under the Dollar Brand. All LPs. Records I enjoyed were 'Good News from Africa', 'African Marketplace', 'Anatomy of a South African Village'. Also the 'Confluence' duo session with Gato Barbieri and the 'Third World' album with Don Cherry and Carlos Ward which was issued by the Japanese label Trio. Don't have any of his CDs. Waiting for suggestions on what to search for.

There is quite a lot of duplications between the Mosaic box and the JSP sets. The JSP first set includes the QHCF sides which were recorded for Decca. If you want to have a look at what's on the various Django Reinhardt issues, have a look at this Django Reinhardt site They seem to have done a pretty thorough job of sorting out what's in all of those Django reissues! Beware, it's a long discography.