Fer Urbina

I think not (sorry I can't be more specific). F

Tonight 21:00–22:25 The Jazz Baroness 22:25–23:05 Jazz 625 Art Blakey and the Jazz Messengers 23:05–23:40 Jazz 625 Thelonious Monk 01:20–02:40 Storyville The Jazz Baroness Tomorrow 20:00–21:00 Legends The Charlie Parker Story 21:00–23:00 Let's Get Lost 23:00–00:25 The Jazz Baroness 00:25–01:10 Imagine- Saint John Coltrane

That's generally credited to Dizzy. Wasn't it originally the coda he used to play in "I Can't Get Started"? Or was it the other way around? F

More info here FWIW, I have a few SESAC vinyls (mainly 45s) and the Woody Herman recordings were leased to Jazzland (the Fourth Herd LP, etc). F

The Getz-Burton gig at LSE is on BBC4 next Saturday 11, at 20:30 (till 21:20), London time. 1959: The Year That Changed Jazz is back on at 21:20 and 0:15. Schedule here. F PS I didn't quite get the programme about "cool". No mention of Lester Young?

Funnily enough, got the Hadlock, second hand, couple of weeks ago in a bookshop near home (Wimbledon), together with Sudhalter's Bix. I've borrowed the Goldberg from a library in the past. F

A few years back I did a series of interviews about Bird. George Avakian surprised me with this: On the programme about 1959 jazz (BBC 4, last week), Avakian spoke about Ornette's debut in NY (Five Spot?) and how it was the first time ever he felt surrounded by the musicians in a club. The programme was about Kind of Blue, Mingus Ah Um, Time Out and The Shape of Jazz to Come. Not bad at all. F PS Ghost, exactly my situation re: Jazz Masters of the 50s. For ever in the back of my mind, but never got around to buy it.

Yes, excellent stuff last Friday, too. Hoping for something next week. I was away last weekend, but watched it today on BBCi. Especially good the footage of Brubeck and Desmond (and Joe Morello recently, he seems to be doing fine), and also an interesting interview (audio only, no video) with Ornette Coleman. Good to be in England, to be honest. F

... I didn't know where to put this. (All times are London) Tonight on BBC 4 19:30-20:00 & 1:25-1:50: Jazz 625 - Oscar Peterson (restored) 22:00-23:00 & 0:25-1:25: Arena - Cool (jazz) 23:00-23:35 & 1:50-2:25: Jazz 625 - MJQ & Laurindo Almeida http://www.bbc.co.uk/bbcfour/ F

Thanks for that (from Tony King's disco, right?). Should have mentioned I'm aware of February 1956 as the most likely date for this recording. F

Hello everyone. On the back of the Fresh Sound reissue (FSR-CD 76, 1989) of the Eddie Costa-Vinnie Burke Trio it says the date of recording is September 29, 1956, which is wrong. Anyways, by complete chance I've just realized that FSR-CD 80, The New Johnny Smith Quartet, has exactly the same date of recording. I suspect one was used as a template for the other and they forgot to change the date. If anyone has copies of CDs from that series of c. 1989 Fresh Sound reissues, catalog numbers around FSR-CD 80, could you check what are the dates of recording? Incidentally those two reissues are from the EMI rooster, via Roulette (Jubilee and Roost respectively), and licenced by "SOVISA" of Madrid. Tiny pieces of minutiae, I know, but I'm really curious, because the Costa date doesn't make any sense (it's actually impossible). Thanks! Fernando

Allen, have you considered James P Johnson's "Worried and Lonesome Blues" from 1923? Quite interesting, in the first section he plays triplets against a striding left hand in a way that I'd never heard before (although I'm not so versed in 1920s music). It can be heard here: http://www.redhotjazz.com/jpjohnson.html F

I see your point. But it could be said that Hank Jones and Monk (and countless others) shared the same basic heritage (blues, spirituals and stride), and they're both black people, and still they have completely different styles. So, who's blacker? And is that blackness what made Monk play piano the way he did, and what made Tristano dislike him so much? I don't think so, personally. I admit I get a bit oversensitive with matters relating to race, authenticity, etc. F

I wouldn't take that as hatred, but that's just my opinion. In any case, Tristano is not alone re: Monk. Miles didn't like his comping, and IIRC, Jimmy Knepper didn't see him as a good composer. As for blackness being Tristano's problem with Monk, I don't see how Monk is particularly "black". Very original, yes, but black? F

Monk received a while ago, all in order, many thanks! F

(I don't have regular access to the internet at the moment, so apologies for replying to old posts.) For a lecture I did on Wynton on 2006 I did a lot of reading on and by Marsalis, as well as Crouch, Murray and Ellison. I totally agree with Allen re: the almost paradoxical relationship between Ellison and the others, which surprised me too while reading Ellison, and I also got the impression of the ideas and arguments getting shallower with each step (downwards) in the Ellison-Murray-Crouch-Marsalis ladder. From my personal experience I'm very sensitive to anything remotely resembling utopian pasts, and arguments like "black people invented jazz, therefore they understand it better" are IMHO wrong and almost insulting, and with Wynton I always have the impression he's reinventing the past in a way that is just silly and, being no specialist like Allen, it just doesn't read right (too simplistic, too straight forward, too much in line with WM's pre-set ideas). This is just amazing. As for WM calling Allen an "academic", knowing Mr. Lowe a wee bit, I honestly though Allen was joking. It IS true that there is no worse insult for him than that. F

??? I was looking for any updates on Ray's at Foyles, and I found Bev's comment on Woollies, which has now folded. These are interesting times... Anyways, I was at Foyles today. The Jazz CD shop, still called Ray's, has now taken what used to be the Remainders/Discount books room on the third floor. Spacious and nice. But... MDC seem to have taken over the whole CD business at Foyles, and they have a classical CD shop around the corner from the Jazz shop, where the music books used to be. And they have shut down the Remainders section for good. F

Thanks MG for that. Hadn't realized. Too early and foggy in the morning for me, I guess. And congratulations for the go ahead, Allen. Really looking forward to it. F

Sorry if I missed or forgot something about your approach to this project, but I noticed that many of the usual suspects are missing - not a bad thing at all. I'm curious about the rationale not to include any Son House or Charlie Patton (although I can imagine why), or T-Bone Walker, Charles Brown/Johnny Moore (the original Driftin' Blues), Charlie Parker (some "Swedish blues" like Blues for Alice or Now's the time, which would somehow cross over to rhythm&blues as The Hucklebuck)... F

PM sent for Monk, Thelonious Monk in Paris Live at the Olympia Thelonious Records CD + DVD 6 F

PM on its way. F

I'm sure I'd read about this elsewhere before, but thanks for the heads up. I strongly recommend the first issue of Jazz Review they have put in searchable pdfs, with a promise to make more issues available. The contents:

IIRC, the Herman band was on tour and Chicago was convenient. F

Hi, Big Beat I've followed the discussion indeed. I was asking about the Bright Orange sleeve specifically (I do have the original Crown), just in case it carried something else. I guessed it wouldn't, but you never know. I'm aware of what's in the regular sources too. I have a very tentative date for this of early 1959, but nothing definite. THANKS! F

Hello Big Beat Steve Could you please tell me whether there are any details about the personnel and especially the date of recording on the sleeve of the Herman LP? Thanks in advance, F