Fer Urbina

Wouldn't want to derail this, but has anyone A/B-ed these early-90s reissues with the newer ones (early 00s- another underpublicised series IMHO)? "Jazz for playboys", for one, carries one bonus track. F

Is this it? The Anniversary Quartet - You'll See! F

Funnily enough, I wasn't there at all, but a group called Last Exit (not the famous one) took part in the band contest in the 1975 Jazz Festival in San Sebastian. Bass player was Sting and according to a local critic "he was mediocre and was constantly breaking up the rhythm". He's not marrying Norah, is he? :rsmile: F

Chuck's right. From Leo Valdés's site: Apart from that, CC used to turned down the volume of his guitar when he played rhythm. If you listen to "Way Down Yonder From New Orleans" (from the Spirituals To Swing concert) he misses his cue to his solo and you can listen how he turns up the volume before he starts picking. F PS One of those tunes ("Celestial Express", IIRC) is a boogie, and it's quite interesting to hear Lux Lewis on celeste, because it's easier to hear each hand independently than on piano.

If you're referring to T-Bone Walker: I Want A Little Girl It was originally a Black&Blue recording made in France. It has Hal Singer on tenor and George Arvanitas on piano and organ. In the French reissue (Feelin' The Blues) there are a few extra tracks with Jay McShann and Eddie Cleanhad Vinson. This one I like a lot. T-Bone also plays piano on one tune. F

Rest of personnel, according to McKusick: Phil Olivella, clarinet Bernie Privin, trumpet Frank Rehak, trombone HM on tenor... Most likely Hank Jones on piano, Specs Powell, drums, Sam Shoobe or Trigger Alpert on bass. F

Nice Charleston video here. Hal McKusick is on tenor. F [Edit to add that the rest of musicians are, according to McKusick: Phil Olivella, clarinet Bernie Privin, trumpet Frank Rehak, trombone HM on tenor... Most likely Hank Jones on piano, Specs Powell, drums, Sam Shoobe or Trigger Alpert on bass.]

Although it's a bit blurry, McKusick can be seen playing tenor here F

Personally, I'll wait and see. Allen Lowe mentioned in the Stanley Crouch thread that he'd seen some of his research and that it needed publishing. Let's hope that there'll be a lot of factual info and very little of Crouch's agenda. Bird may have been an avant-gardist (not so sure about that...), but he was black, a helluva blues player and swang like mad, so I think we've got that covered. And Wynton was born a few years after Bird's death. Unlikely that he'll appear in the book. Or will he? F

Crouch's project (started in 1981, IIRC, read it in a 1986 interview with Wynton he had been working on it for 5 years) is coming to an end, apparently. In an interview he did last September for jerryjazzmusician, he says Elsewhere in these forums there are comments about this bio. Something to look forward to, I guess. F

Sometime in 98-99 I saw Spike Robinson at the Bull's Head, a pub in Barnes (London) by the river, incidentally, not too far from where Alan Bates, the current owner of Candid, lives. Conte Candoli was on trumpet, Martin Drew on drums and Dave Newton on piano (can't remember who was on bass). Robinson was great throwing around a lot of quotes in his solos (while Candoli was apparently stuck on Fascinatin' Rhythm). Swinging and having a hell of a time indeed! F PS Incidentally, again, Howard Rumsey was in the audience.

Musicwise you're not missing anything if you have the latest Savoy reissue: Complete Red Norvo on Savoy For all 30 radio transcriptions by the Norvo-Farlow-Mingus trio, not the same as the Savoy recordings, check "Red Norvo: Volume 2" (Vintage Jazz Classics VJC-1008-2) Farlow was a great and very humble guitarist. The Farlow-Costa-Burke trio must have been quite a thing to watch live. A pity that he retired so early (1958). For more on Farlow see Dave Gould's site F

Oops, sorry to be late for this, MG, but I seem to remember that the sound in the Lunceford set was really bad. F

Hi Tom Could you check whether OSCAR PETTIFORD - DISCOVERIES is in there? Also, which are the Kenny Clarke and Joe Wilder titles? Danke! F

On the subject of records for children, if anyone knows of "kiddie records" (Down Beat's words) recorded by Kimball (presumably the instrument and now furniture makers) c. 1958 I'd be grateful for any scrap of info. Thanks F

The Spanish disk has "TOCJ-1620" printed on it. The original issue was legit and produced by Time-Life in Spain. The series came out every other week and was to be sold exclusively as part of a package that included a book in installments (can't remember which book it was). I say "original issue" because these were published in 1998, and quite some years later they have popped up in the UK and even in the US (I think) so chances are that someone managed to print more CDs than needed. F

Always wondered what would have happened with it if we hadn't had the Hawk's classic one. Was the Eldridge-Berry the first one with one chorus (or was it just the bridge?) played uptempo? F

IIRC the Concert Jazz Band (early 60s) recorded that "So What" as "Apple Core" (?) http://www.mosaicrecords.com/prodinfo.asp?number=221-MD-CD http://www.mosaicrecords.com/discography.a...umber=221-MD-CD F

Ditto. This set, like the "Birks Works" discussed elsewhere comes from what is IMHO a sort of golden age of reissues at what used to be PolyGram, in the mid-90s and under Richard Seidel. They did some excellent reissues, and more importantly, they *stuffed* CDs, like the 2 LPs in 1 CD (Gloomy Sunday/How to succeed...), 3 LPs in 2 CDs (like a couple of Ben Webster sets) or even 4 LPs in 2 CDs (the Lee Konitz/Jimmy Giuffre set). F

Can't check right now and probably won't help much, but IIRC Mercury and at least one other label also used 35 mm starting c. 1960. I have the impression that this happened as part of the Hi-Fi and stereo craze, when labels like Audio Fidelity, Time and Command came about ("ping pong music"). Anyway, this is from the Space Age Pop site: F Edited to add that Raymond Scott was involved with Everest (at least in its early days). Wouldn't surprise me if it was him who introduced the 35-mm film for Everest recordings.

Proper may have made their mistakes (and please bear in mind that the recordings they release are PD in the EU), but I cannot think of a better overview of the Hawk's early forties career. The December 1943 session is just incredible. And long tunes too (c. 5 minutes for The Man I Love, IIRC) F

Hi John, Sorry I was not clear enough. I was referring precisely to the perception that gigs and work opportunities were scarce for bop-oriented musicians, not to the level of the music. Nicholson challenges that perception giving names and, IIRC, quoting well-known musicians. I'm pretty tied-up at the moment, but will try to look for an actual quote. But it'd be still be great if any of the members involved in jazz in the late 70s/early 80s could comment. F

I read in Stuart Nicholson's "Is Jazz Dead?" that the bebop scene at the time when Marsalis came into the scene was not as bad as it has been suggested. Any comments? F

I would call it many things instead of "magic", but anyway, you made quite a point. How many people would have noticed if Marsalis had stopped playing regularly 15 years ago and had devoted himself to all the other things he does? F

Can't check now, but in case it helps, IIRC the "Freelance" Sonny Rollins box has the Way Out West tracks in different sequence. F