Fer Urbina

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

Very clever headline. Clue is in *say*. A friend's told me about European men living in the Far East and needing condoms from back home because the size there is too small. F

Off the cuff, he did a Porgy and Bess for United Artists c. 1959 with a big band full of big names, IIRC. Here it is. F

THE NEW SWINGIN' HERMAN HERD (Crown 205 or 5180, "stereo" or "hi-fi"). Is identical to REAL BIG BAND MUSIC LIVES AGAIN - STEREOPHONIC SOUND OF "THE HERMAN HERD" (Bright Orange X-BO-717). Is identical to CROWN ROYAL (LaserLight , CD 15 775) , with four added tracks from a different session. DATE: March 22, 1960 LOCATION: Chicago. PERSONNEL: Rolf Ericson, Don Rader, Bill Chase, John Bennett, Paul Fontaine (tp) Ken McGarity, Jimmy Guinn, George Hanna (tb) Woody Herman (cl, as, voc) Gus Maas (fl,ts) Don Lanphere, Larry McKenna (ts) Jimmy Mosher (bar) Marty Harris (p) Larry Rockwell (b) Jimmy Campbell (d) Ralph Burns (arr). TUNES: Montmartre Bus Ride, Aruba, DARN THAT DREAM, CROWN ROYAL, I Can't Get Started, The Grind, Off Shore, Single O, Afterglow, HERMOSA BEACH. According to the LaserLight CD booklet, Lanphere solos on Darn that Dream, Crown Royal and Hermosa Beach. F

I was at Ray's on Sunday Nov 23. The coffee shop has indeed taken all the floor in that part of the first floor, but as far as I know they've moved the records upstairs to the music section, which they are re-arranging (that affects to the remainders and second-hand books room too, IIRC). The expansion of the coffee shop and moving the records upstairs makes perfect sense to me. F

Hi Chewy, See my previous post re: these tunes. The personnel on the Bright Orange reissue is wrong and it's very likely the origin of subsequent mistakes. The original Crown LP doesn't give any details re: personnel although it gives the exact date of recording, and I guess whoever did the sleeve for the Bright Orange assumed that the personnel was the same for both LPs. However, at least Bruyninckx gives both takes on this session (one under Maxwell Davies and the other under Herman) but more importantly in Woody Herman: Chronicles of the Herds by William D. Clancy and Audree Coke Kenton very concrete details are given about the session with Montmartre, Aruba, etc, the date and the location. For starters these were recorded in Chicago, so you can almost certainly forget about Glow, Cohn, Byers, André, Rehak or Costa being on it. So: - Woodchopper's ball, Northwest passage, Apple honey, Goosey gander, Four brothers, Blue flame, Wild root, Bijou, Blowin' up a storm were recorded by a studio band *without Woody Herman* including some musicians connected with him. The tunes are all from the First Herd book, except Woodchopper's and Brothers. Recorded in NYC, c. early 1959. Published as MEMBERS OF THE WOODY HERMAN ORCHESTRA - TRIBUTE TO WOODY HERMAN (Crown CST 133 or 5103). - Montmartre Bus Ride, Aruba, Darn that dream, Crown Royal, I cant get started, The Grind, Off Shore, Single O, After Glow, Hermosa Beach were recorded by the then current Woody Herman Band, in Chicago on March 22, 1960. Released originally as THE NEW SWINGIN' HERMAN HERD (Crown 205 or 5180), then reissued as REAL BIG BAND MUSIC LIVES AGAIN - STEREOPHONIC SOUND OF "THE HERMAN HERD" (Bright Orange X-BO-717) and CROWN ROYAL LaserLight (CD 15 775). F PS Bernie Glow was one of those studio guys who had been in big bands in the 40s and that you'll find anywhere in those big band records of the fifties by people like Al Cohn, Billy Byers, Manny Albam... and in Miles Davis recordings with Gil Evans.

Cost effective cds are in quantities of 1000. Cost effective booklets/tray cards are minimally 2500. Most issues deleted sell below 200 a year. You do the math. None of this takes into consideration the expense of warehousing, etc. The Japanese seem to do that, short batches and then reissue whatever needs be reissued. Thus, for instance, you only have two issues of Eddie Costa's House of Blue Lights (c. 1994, c.2003, none in Europe/US) but I don't know how many of Miles Davis or other far better selling artists. I guess there must be a reason why that model is not followed elsewhere (lower distribution costs, I guess, plenty of people in a very small area) but I certainly don't know for sure. F

Little me came to the UK in 97 but I was able to catch Mole's last years where I was a regular downstairs and upstairs (I still have a few books from there). As far as I know in the end they were acquired by distributors New Note, and Mole is now a shop in eBay. (I was a couple of times at Harold Moore's upstairs and it was really sad). Won't miss the programme, thanks for the heads up. F PS I may have a bag somewhere, too...

It actually does look as if it opened up indeed, see here Wonderful, wonderful thread, sir (I just discovered it). MANY THANKS FOR THIS. F

... facsimile, wrong pitch on one side and the titles of Flamenco Sketches and All Blues mixed up. Otherwise I don't see the point. Discovery UK is the distributor for "the Andorrans" here. F

Interesting. The Village Gate gig Rollins mentions may well be the "Eddie Costa memorial concert" from October 9 (the letter is dated October 13). The concert was very long, but at least part of Hawkins set is on record. F

I'm a fan of Jones for various reasons, musical and non-musical, and look up to him and Moody, as many of their peers, for having had long, fruitful lives doing what they like most, to a very high standard. But I can see how an insect wouldn't understand this. F

Cannot tell right now (have a queue of books before I get to this). I have read the afterword, which deals with the research Chambers has done, and it looks promising in that respect (quite a few letters from Twardzik himself have been included, Chambers had the family's collaboration). It looks above average, although I agree that average in this genre is nothing to shout about, usually for lack of a good editor (or an editor at all), IMHO. F