ghost of miles

L. Ron Hubbard's autopsy showed that he was taking a psychotropic drug at the time of his death. ← Heretic! You'll probably get sued for saying that if any Scientologist happens to read this thread.

Thanks for that link, Mike. I'm aware of that site--hell, they've even archived my Bix program--but didn't even think about checking there. Re: the Berigan '38 sides, I'll have to check and see if they came out as a folio packet (the pre-LP LP, as it were) or if they were ever issued as part of a tribute LP. I think there were five numbers total--they pretty much recorded everything that Bix ever officially composed.

Anybody heard from him? He doesn't have an e-mail function here... I sent him a PM in hopes that he'd receive a notification through whatever e-mail service that he uses.

I'll second chuckyd4 on School Days and throw in (along with many of the titles already mentioned) Vandermark and the AALY Trio LIVE AT THE GLENN MILLER CAFE.

Hey all, I'm working on a Night Lights program about the early tribute LPs to Billie Holiday. At least one (Webster Young's FOR LADY) came out while she was still alive; I'm also using albums from Carmen McRae, Anita O'Day, Sam Cooke, Johnny Griffin, and Mal Waldron. What "tribute" or memorial LPs to any artists preceded these? There are a couple of Fats Waller albums on the Mosaic PIANO MOODS set; were there any Bix tributes released in the 1950s? I'm thinking some material came out after Parker's death in '55 as well.

He made some joke about Thomas trying to raise money for the Peabody Institute... said, "I thought Gary was going to come out with a tin cup and wander up and down the aisles, asking for money." The audience gave a surprised laugh, and GT looked p#%#ed. I think--or want to think--that Herbie realized as soon as he said it that it had come out pretty bad. He said some nice things about GT throughout the rest of the show, but GT seemed to be off at the side throughout the evening, rather disengaged.

Budd Schulberg was horrified to find out that modern-day readers study WHAT MAKES SAMMY RUN? as a "how-to" book for succeeding in Hollywood.

Two of the biggest sources for standards--Broadway and the movies--have not yielded much for the past 40 years or so. (With exceptions, of course.) The musical, in either format, seems much less of a force in the marketplace now than it was in the halcyon days of the mid-20th century. But I'd also agree with Mike that there's a significant body of work by jazz composers from the 1950s and 60s that remains to be mined in a significant manner. Hank Mobley, for starters...

You might be right... I've had inklings along this line as well. Early on, a musician friend of mine called him "the modern-day Illinois Jacquet--and I don't mean that as an insult." But I still feel as if he's ultimately capable of delivering more than he has so far. I enjoy much of what he's done to date. I'm more inclined to agree with Jim that in some ways he's a man out of time. In any event, I'm going to keep listening to him. I don't know if there will be any more "great ones." Not by old-school standards, anyway. Braxton is the youngest one left, IMO, and he just turned 60.

Carter/Pavement

This week on The Big Bands it's "Duke Ellington: the Treasury Shows, July 1945." This edition of our ongoing Ellington Treasury series features performances from an Ellington appearance at the Apollo Theater in Harlem, including "Day Dream," "Carnegie Blues," and a medley of Billy Strayhorn tunes with Strayhorn at the piano. We'll also hear music from a Boston concert that includes the rarely-recorded "Bugle Breaks" from Ellington's musical Jump for Joy, contemporary pop hit "A Friend of Yours," "West Indian Dance" (from the Black, Brown and Beige Suite) and "The Magazine Suite." The program airs Friday, July 1 at 9 p.m. on WFIU. Next week: "That Old Arlen Magic."

Excellent! Another one to add to the wishlist... damn, this is an expensive thread to keep tabs on.

Hey all, Shawn M has started a "catching up with" thread for Greg Osby over at AAJ. Just thought I'd mention it to any Osby fans who might have questions for him...

Furst is great... I've read only the first three and am looking forward to the others.

According to his profile Late was last active here on May 19 and he hasn't posted since April 21. Does anyone know why he's not posting anymore? ← I've wondered about that as well... Hope you're having a good day, Late!

MaxJazz--cool! I'm sitting in for the afternoon DJ next week & will definitely try to spin this if we have it.

Hmmm... is it just me, or is Carter still trying to live up to his early promise? I liked CHASIN' THE GYPSY quite a lot--thought the Baker's release a bit of a letdown. I'm rooting for him, though.

I'm a perennial supporter (with pledges) of public radio, for what it's worth. I do it because I think it's the right thing to do, but I'm not at all sure that really gives me any more of a voice than anyone else though (nor am I sure that people who don't pledge basically should feel they have to "put up or shut up"). In fact I'm sure my contributions don't give me any more clout than non-pledgers. How are the two connected? It's not like when I send in my pledge check I get to pick the play list for one of the local station's jazz shows, heck they don't even ask me for my opinions on what should be played. ← Very well-put, DrJ. At my station we do ask people who call to pledge what their favorite program is--and we do notice if a particular program hasn't done well during fund-drive for several years in a row. Even such a poor performance, though, has never led us (as far as I know) to outright kill a program. Another way of looking at it is that Jsngry, you, and all others have already made a contribution, however small, through the use of CPB tax dollars (the funds we just had the big fight over in Congress). Not that I want to discourage anybody from pledging--far from it! We truly do need listener support. (CPB funds account for about 10-15% of most stations' budgets.) But to say that anybody who doesn't pledge has no right to offer input about programming is not just poor manners--it's also just plain wrong.

What label? I'm eager to hear this.

These show up on the Chaloff Mosaic as well. But aren't there numerous instances of this in the pre-LP age? Ellington's "Reminisicing in Tempo" comes to mind (I think it came out on two 78s, as it was nearly 12 minutes long); Basie's "King Joe"; Dexter and Wardell's "The Chase," done for Dial around the same time or not long after the track to which Joe alludes.

I saw Thomas on that same Hancock tour... Herbie inadvertently dissed him at the beginning of the show, and he seemed a bit peeved for the rest of the night. I really like PARIAH'S PARIAH... hope he comes out with another leader date soon.

The reason for this thread is exactly why I'm TEMPTED to stay pissed in the U.K. sense. ← Precisely!

Ya know, it just occurred to me that the title of this thread would have a whole 'nother meaning for British listeners...

No love from the labels is definitely part of the problem. In many instances if you don't "report" to some publication or recognized radio publication-like radio and records-the labels won't give you the time of day. ← I've also found that Blue Note in particular is much less likely to send promos of re-issues, as opposed to new releases (unless the re-issue is a new compilation of some sort--those they'll usually send).