Dan Gould

It's really quite simple, Patricia: He attacked me for absolutely no good or reasonable reason and did it in an especially disengenuous way-"I don't want to dog Dan" and then proceeds to dog me. I will never return to that forum again-clearly I am not welcome-and went out with guns blazing. Could I have been less obnoxious? Let me put it this way. Since the occasional troubles here have led to the comparison to being at a party at a private home or club: After being the object of an unprovoked attack by the owner of the house, I decided to leave a little "present" in the punchbowl on my way out.

I hate to interrupt the ongoing conversation, but this seems like the best place to make note of the way I have been treated by DEEP's nemesis, Mike Ricci of All About Jazz. Thanks to Hans, I have become aware of how Ricci has chosen to attack me. Here's the link: http://forums.allaboutjazz.com/showthread....37990#post37990 Basically, I repeated my Weinstock interview question request over there, and this is the last thing Ricci has posted: Well, I went medieval on his ass and have challenged him to ban me, so I will be thrilled to join DEEP in the AAJ Hall of "Shame" shortly, I am sure.

Well, they are really going to gear up for this release. I swung by Borders yesterday and saw a poster in the window promoting Norah's album and encouraging people to "pre-order"! I think she's reached the big-time.

I'll tell you what though-if there're any Martians watching the landing, they'll know how technologically backward we are. I mean, every UFO that ever makes it to Earth just flies right down and hovers; no four-story bounces and mile-long uncontrolled rolls with their interplanetary spacecraft! B)

I agree, Chuck, that it doesn't cover Jay enough and segues into the swing scene of KC. Maybe I'm just generally happy when someone I've come to hold in such high esteem gets noticed by the "Paper of Record" without having died first.

You beat me to this, Brownie, but for those who haven't signed up for the Times Online, here's the article: January 3, 2004 A Jazz Legend Rekindles Kansas City's Musical Past By STEPHEN KINZER KANSAS CITY, Mo. — When Jay McShann approached his piano to begin a concert at the Folly Theater here on a recent evening, he was emerging not just from backstage but from jazz history. Mr. McShann told the audience that he would spend the evening trying "to see how high the moon is," and then settled down to business. His performance showed that he still embodies the swinging, bluesy sound this city made famous. He played dozens of songs, most of them four-minute classics, gently and lovingly. "Hootie's Blues," his hit from 1941, sounded as fresh as if he had just written it. His few vocal numbers, including "One Woman's Man" and "Georgia on My Mind," showed that at 87 he can still coax pathos out of even the most familiar lyrics. Mr. McShann made no concessions to modernity. He never raised his voice or wandered into extended improvisations but played with the elegance and self-assurance of an old master. Duke Ellington, Count Basie and other leaders of the big bands that electrified audiences during the 1930's and 40's are long gone. So are most of the musical visionaries who, more than half a century ago, turned Kansas City into one of the world's most vibrant musical centers. After a long lifetime of achievement, Mr. McShann now finds himself in a new role, that of the great survivor. "Time went by, and I didn't realize I was as old as I am," he said after the show. "All of a sudden I stopped and said: `Oh, wow. Wait a minute. I've got to slow down.' Then I had to slow down, because I got diabetes and the old arthritis creeping in. But I still play around, enough to keep the bear from the door. That old bear, he's always around, outside the back door when you don't know it." The sound that wafts from Mr. McShann's piano is unlike that of any of the other old piano masters who are still active. He is less experimental than Dave Brubeck, closer to blues than Marian McPartland but not a pure blues player like Pinetop Perkins. These days Mr. McShann is enjoying a new wave of recognition. His latest album, "Goin' to Kansas City," which features Duke Robillard on guitar and includes a vocal turn by Maria Muldaur, is selling well and has been nominated for a Grammy. He was featured on the recent PBS series "The Blues," on which he played a blazing duet that led his partner, Mr. Brubeck, to rear back with a broad grin and tell him admiringly, "You still got it." Although the musical scene that produced Mr. McShann faded long ago, Kansas City still has more than two dozen clubs where jazz is played regularly, making it one of the country's leading jazz centers. Musicians here are caught in the perpetual bind of whether to respect the city's tradition by playing in the classic style that Mr. McShann helped develop or to embrace bebop, free jazz and other more modern approaches. The tension between these poles is a creative force that fuels the music scene here and keeps Kansas City on the jazz map. "The city doesn't know how to market itself as a musical destination, but there's still a very strong scene here," said Charles Haddix, a weekend disc jockey on KCUR-FM and director of the Marr Sound Archives at the University of Missouri. "It's really a very well-kept secret." Several musicians who created the dazzlingly innovative bebop style learned their trade in Kansas City, among them Charlie Parker, who played in Mr. McShann's big band before moving to New York. Bebop changed jazz forever, much as Abstract Expressionist painting, which also emerged in New York in the years after World War II, radically reshaped American art. Kansas City is one of the few cities where it is possible to listen to bands that play as if the bebop revolution never happened. Perhaps the most famous of these is the Scamps, who have been playing jazz since 1945. New members are initiated whenever a musician dies or retires, and today the Scamps range in age from 70 to 83. One, Art Jackson, played with Parker in the Lincoln High School band here during the 1930's. The Scamps played to a full house recently at one of the city's most elegant clubs, Plaza III. There were a fair number of graying heads in the audience but also more than a few younger people. Many got up to dance, some in exuberant styles that recalled the Lindy Hop of bygone days. It was a sight that would have horrified bebop pioneers, who considered their music appropriate only for quiet listening. In the 1930's Kansas City was one of the most wide-open towns in the United States. Under the rule of Thomas Pendergast's political machine, jazz flourished along with prostitution, gambling and a host of other licit and illicit entertainments. The city was known as Sin City and the Paris of the Plains, and it thrived while the rest of the country was mired in Depression. Today the American Jazz Museum, at the historic corner of 18th and Vine, tells the story of those days. Political reform and the rule of law finally took hold in Kansas City, and the jazz scene declined. "It had quite a dip," said Lucky Wesley, the 76-year-old leader of the Scamps. "By the 1970's most places that used to feature live music were switched over to jukeboxes, or else gone altogether. Now the demand is for hip-hop or progressive jazz, which is O.K. for those who like it. We're among the last of those who came up through the old days, and we've lived to see our music come back into demand." Kansas City musicians still gather at the Mutual Musicians Foundation for late-night jam sessions. The foundation, a former union hall for black musicians, was once at the center of an active musical district where more than 100 clubs offered live music around the clock. Now it is surrounded by abandoned buildings and vacant lots. Inside, however, the jazz spirit thrives. As it approached 3 a.m. one recent Sunday, musicians were just arriving. With many of the city's star musicians away on holiday tours, the stage was open for younger players like Andy McGhie, an 18-year-old saxophonist. When a patron remarked that the Kansas City jazz scene seemed frozen in time, Mr. McGhie replied: "That's true, even though there's also new music coming out of here. When you live here, you can't help but absorb the tradition. It's all around you. You can't escape it, and that's not a bad thing. The younger cats coming up here dream mostly about making a name for themselves, moving out to Chicago or New York, and then maybe coming back here to join the tradition when they're older." The tradition seems likely to survive for a long time to come. "I've tried booking national acts here," said Joe Wilcox, manager of the Plaza III, "but whenever I do, people come up to me and say, `Where's the Kansas City stuff?" ' *********************** The album that's referenced is highly, highly recommended. Jay is truly amazing.

I've also got it and agree with Jim. Mitchell still had it at the end.

A great idea! I would have to say major thanks to Chris A. for his considerable professional help with the Eddie Higgins interview and especially the upcoming Weinstock interview. And thanks to Lon for those little and not so little surprises he keeps sending my way! And to B-3er for setting up and maintaining such a welcoming, hip place ... ****************** But Paul, isn't quite accurate. Let's not forget that it was Dr. J, Tony Jerant who expressed the original idea. I just kept nudging it until it came to fruition!

Good to see you, Vic, and Happy New Year!

I'll echo that nomination, as I think Houston's work over the last ten years or more is of a very consistent quality. In fact, I find his work now much more satisfying than his Prestige soul jazz days. Not groundbreaking, but that huge, soulful tone is oh so satisfying!

Great picture, Chris. I had a spectacular view myself leaving LaGuardia for Fort Lauderdale on Sunday. Usually I am on the aisle but this time I had the right-side window seat and the plane took off to the east, directly over Shea Stadium and the Tennis Center (not something I like to see, but a different view from above) and then we swung out over the Sound and headed south directly over Manhattan, giving me a spectacular view of the George Washington Bridge, Central Park, mid-town, etc. The park was truly spectacular, you don't appreciate its size until you see it from 5 or six thousand feet, flying over its length!

I was just listening to one of Donald Harrison's "Nouveau Swing" discs and I noticed those annoying 90 second or even under-a-minute tunes, and I know Donald's not the only one-a lot of the young lions have done that too, like (I'm pretty sure) Eric Reed. WHAT is up with that? Does anyone get anything out of a 90 second tune? I mean, its not even as if they are trying to duplicate the "say it, and say it quick" aesthetic of the old 3 minute recordings of way back when, it just seems to be filler to me, and annoying filler at that. What do you guys think?

Obviously, this slipped on by, but I'd like to suggest that we try to remember this next year so that we can get it organized by early December, cause I think it would have been fun.

From Mosaic: The Gerald Wilson Box Curtis Amy Select Carmell Jones Select They also charged and shipped the Mulligan box, inexplicably, but since its not at the top of my list at this point, I told Mom to send it back. Also: Johnny Griffin and the Great Danes (Stunt) Dexter Gordon, The Rainbow People (Steeplechase) Dan Papaila, on Timeless, with Johnny Hammond Smith and Rickey Woodard And since Man cannot live by jazz alone:

Up, since its time to put the nose to the grindstone and get my prep work done so I can book some time with Weinstock, so if anyone has any additions for me, like, say .... CHUCK?

Well, let my first post on my return be to wish Moose a very happy birthday! (Actually, I'm not "back" until tomorrow afternoon, but it shows how I can't stay away for long-I'm at the public library in my parent's town, checking e-mail and Organissimo, and not necessarily in that order!

I'm headin to New York bright and early tomorrow morning to an Internet Free Zone otherwise known as the Gould Family Homestead. So, here's hoping everyone stays safe, has a fine holiday and gets lots of music from Santa! See ya when I return to the 21st Century!

And here's the difference between a musician's and a nonmusician's ears: I don't hear a great deal of "quirkiness" or "perversity," I mostly hear the standard hard bop framework.

What??!! Did Chuck get a copy of the Clearwater set?? (Where's the "no fair" smilier?

This was discussed once at Board Krypton. I didn't hate the LP, not by a long shot, but I do recall that Bill Fenohr opined that Leslie had everything except "chops and ideas" or something like that.

The Sounds left BN in 1961 or so, recorded two albums for Verve and three for Mercury, then three more for Limelight before returning to the fold in 1966.

I've done it for over three years, CDs and CDRs alike and never discovered any sort of problem. My question to you would be, do you remember what tune you were listening to and go back, or do you start the CD all over again everytime you start the car?

Well, what the letter says is that they didn't buy the company outright, they are making payments, that's what this means: But I wouldn't at all be surprised that the purchase agreement also explictly assigns those pre-existing debts to the prior ownership. But the problem with this statement is that even if the new ownership gets support from the artists, sells CDs and makes its monthly or quarterly payment to the prior ownership, there's absolutely no guarantee that the prior owners intend to use this money to pay off their debts. In fact, only a fool would believe that-they've got cash out of the business and surely have no intention of honoring the debts they racked up, short of a court judgement. To me, the question is, was the business failing due to slow sales or a revenue sharing plan that was too generous to artists to be sustained, or was the business predicated on fraud from the start (sell CDs on consignment, pocket the $$, don't pay the supplier)? If that's the case, it would be apparent to the new owners when they studied the books, and then, in my layman's opinion, you might have a case against the new owners for colluding in the fraud.

Funny, but pretty pathetic to have typos and mispellings all over the place.

Maybe I'm missing something, but why not relegate all "answers" to a dedicated answers thread? Then those who are interested can post sure answers any time-- no one is forced to look at the answer thread until they are read, the person who compiled the disc can post the answers after a reasonable time, and stragglers are not left out in the cold if they can't "keep up"? I think you're confusing different issues. #1, this is the thread for discussion and guesses. In the interest of not giving things away, it is asked, or, really, expected, that those who know particular tracks will post links to a resource like AMG so that people who don't want to know the answer can skip the link and remain "in the dark". #2, there will be a dedicated "Answers and Further Discussion" thread, started by Jim S. when he chooses to post the answers sometime over the weekend of beginning of next week. As for the suggestion about no activity on this thread before answers get posted, I think its really up to the test giver to make the call. Things tend to wind down on the initial discussion thread naturally, even if there is some level of action here. Furthermore, if there are stragglers, they should still be posting their initial impressions/guesses/commentary to this thread whenever they get around to it, so a requirement of silence here may not be workable anyway.