MartyJazz

We try to keep our queue to a manageable 50 -70. It's kind of easy to periodically update and re-order the queue this way. That would be nearly impossible with over 500. I'm surprised the Netflix program lets anyone construct such a large queue in the first place.

This is not properly a "jazz radio" topic but I'd like to alert any cinema DVD fans here of a film I viewed the other evening which had some interesting jazz content. Titled "Une femme de ménage" (aka "The Housekeeper" en anglais) from 2002, it's a good (not great) film about the realities of a May-September romance. Our hero is an audio engineer who attends jazz clubs and the viewer gets to see and hear Rene Urtreger, Pierre Michelot and Daniel Humair playing some good trio music. Rent it.

Well, as you've probably discovered, it's pretty short for a CD. In fact, it's very short as far as LPs go, a copy of which I've owned for many years. It has two tracks "MamaRose/Poem for Malcolm" (13:30) on side 1; "Rain Forest/Oleo" (19:50) on side 2. Nevertheless I find all the Shepp albums on BYG/Actuel from this period fascinating and very musical documents. You think Mosaic would ever think of giving its imprimatur and beautiful treatment to the best of '60s avant garde?......Nah.

25% off the regular price of one item through May 30th: http://f.chtah.com/i/9/276579820/dgystorecoupon_519.html

Well, I wouldn't contradict them after so many years, but I honestly don't recall seeing either of them. I remember however, running into Curson a couple of times at a cheap restaurant in Chinatown called "Lin's Garden", where my friends and I would occasionally crash for food at 2 or 3 AM (oh those single days!). Curson later named a tune of his "Lin's Garden" which he recorded.

I've told this story several times before so hopefully when I finish this post I'll remember to store my words for future use. In a nutshell, I was at Slug's the night Helen, his common law wife, fatally shot Lee. However I did not witness the shooting as it had begun to snow heavily outside and since my friend, who was driving, did not have snow tires, we left after the 2nd set ended. On our way out, I said hello to Helen who was coming towards me as I knew her from my involvement with Rahsaan Roland Kirk's Jazz and People's Movement - Helen was either the secretary or treasurer for the group, I can't recall. Helen ignored my hello and kind of crashed into a chair as she walked by me, making me think that perhaps she had one drink too many. The following morning I got a call from Mark Davis, who was a very good friend of Rahsaan's, and he asked me what happened the night before since I had told him I was going to Slug's. Of course, I didn't know what he was talking about, and he then informed me of the shooting. At that point, I phoned Billy Harper, Lee's tenor at the time, whom I knew also because of his involvement with the JAPM. I expressed my shock and condolences and pleaded with him to tell me what happened as he knew I had been present the night before. Harper told me that basically Lee had been seeing another woman, that Lee had been in a minor auto accident earlier that day with this woman in the car and that the latter also had been at the club, all of which apparently incensed Helen. A couple of years later, I had the good fortune to know Joe Henderson who lived in Brooklyn Heights as I did at that time, and he told me that, contrary to what one would expect, fellow musicians felt sympathy for Helen as they viewed it as a crime of passion. Indeed, Joe said that they had taken a collection for Helen's legal costs. It was his understanding that Helen received probation and did not serve any jail time. Certainly it was known that Helen had done much to help Lee and revive his career when he had fallen into some very hard times due to a bad drug habit. That is my entire recollection of the event.

I was fortunate to see Michael perform these originals at a concert at the Brooklyn Conservatory of Music in the fall of 2003 with personnel that differed somewhat, i.e., Adam Kolker and Jim Snidero in place of the Steves (Wilson & Davis). Terrific concert! Bought the CD there and highly recommend it.

I have the Brookmeyer and Friends on a French Columbia and highly recommend it. The friends are Stan Getz, Herbie Hancock, Ron Carter and Elvin Jones. One could do a lot worse than hang out with that kind of company.

This duo will be appearing at the auditorium of the Broward Museum of Modern Art this coming Saturday, a concert sponsored by South Florida Jazz. If you're a member of SFJ, tickets are $25 apiece, otherwise $30. Best to phone toll free than to order online (much cheaper handling charge and it's one charge per phone call no matter how many tix are being ordered) at 877-877-7677.

John Coltrane - "Russian Lullaby" Lester Young - "This Year's Kisses" Jackie McLean - "Let's Face the Music and Dance" Ben Webster - "When I Fall in Love" Hank Mobley - "Remember" Louis Armstrong - "The Song is Ended" Chick Corea & Akoustic Trio - "How Deep is the Ocean" Frank Sinatra - "Change Partners"

But I understand she sings "Sweet Love of Mine" on it.

May 11th. Recorded on this date: 1949, J.J. Johnson leads a quintet that includes Sonny Rollins, John Lewis, Gene Ramey & Shadow Wilson record for Savoy: "Audebon", "Don't Blame Me", "Goof Square", "Bee Jay". 1956, Miles Davis Quintet with John Coltrane, Red Garland, Paul Chambers & Philly Joe Jones record for Prestige: "In Your Own Sweet Way", "Diane", "Trane's Blues", "Something I Dreamed Last Night", "It Could Happen to You", "Woody'n You", "Ahmad's Blues", "Surrey with the Fringe on Top", "It Never Entered My Mind", "When I Fall in Love", "Salt Peanuts", "Four" "The Theme". 1982, Art Pepper-George Cables duo record 11 titles for Galaxy. 1991, McCoy Tyner leads a quintet that includes David Murray, Arthur Blythe, Ron Carter & Aaron Scott - 44TH STREET SUITE (Red Baron):

I have a couple of broadcasts of this octet, unfortunately on open reel tape. One of these days, they will be transferred to CD-R when I get the capacity to do so.

By "later Evans" I meant anything after the early-to-mid 1960s. I've heard many speak of a late-life renaiassance for Evans, and I need to investigate that. What are his best late recordings? Try this one; a favorite of mine: YOU MUST BELIEVE IN SPRING" WARNER BROS. RECORDS (Rhino) R2-73719 BILL EVANS- Piano EDDIE GOMEZ- Bass ELIOT ZIGMUND- Drums Recorded August 1977 Produced by Helen Keane and Tommy LiPuma That indeed is a terrific album.

May 10th. Also recorded on this date: 1961, Thelonious Monk Quartet with Charlie Rouse, John Ore & Frankie Dunlop appear in Bern, Switzerland and perform five Monk compositions - MONK IN BERN (Magnetic). 1990, John Hicks Trio with Cecil McBee & Elvin Jones - POWER TRIO (Novus). 1999 (thru 5/11), leaderless recording date for Blue Note featuring Greg Osby, Stefon Harris, Jason Moran, Mark Shim, Tarus Mateen & Nasheet Waits - NEW DIRECTIONS:

About the only thing you got right is that "Boston Bernie" is indeed based on "All the Things You Are".

You got it. But I'm not greedy, $5K is enough. Seriously though, if I had a DVD recorder, I'd start making copies right now. Give me some time to work on that.

May 9th. Also recorded on this date: 1963 (through 5/10), Charlie Byrd Trio with Keter Betts & Bill Reichenbach perform at the Village Gate (Riverside): 1966, Sonny Rollins leads a group that includes Freddie Hubbard, Jimmy Garrison & Elvin Jones - EAST BROADWAY RUNDOWN (Impulse): 1990, Eddie Harris, Kenny Barron, Cecil McBee & Ben Riley - THERE WAS A TIME: ECHO OF HARLEM (Enja):

Whaaaaaaaaaaaat? Where can I get this??? It's a bootleg, was given to me with quite a few other excerpted concerts on the disc. Don't know the ultimate source.

I believe it because there is a difference between a bad trade and offending the gods by cheating. And the proof is that the Sox ultimately did win, proving there was no "curse" in the first place. But I find it easy to believe that it is not a coincidence that the last time the White Sox reached the series, they threw the series and have never been back. Slight correction. The White Sox did get back to the Series, exactly 40 years later in 1959 where they lost to the Los Angeles Dodgers in six games. I hate to admit it but I actually remember that series, being a young teen at the time.

But what did he say?! From memory, I can recall that he basically remarked on the difficulty of creating a live experience in the recording studio, also that a record should introduce newer material than what was generally played in a club and that this issue alone could lead to more uncertainty in terms of listener approval. I certainly didn't present him with any followup questions on that matter, just thanked him for all the joy he had given us and wished him well. As I said, he was very gracious.

Sometimes the dichotomy between what he does live and what he produces on disc is so great that it can lead to embarrassing moments. Back in the '70s before I was married, I recall going to the Brooklyn Academy of Music to see a play about the life of Billie Holiday. The young rather pretty woman I was dating noticed a tall handsome black man in the corner of the lobby before the play was to begin and said to me "that man over there looks like Sonny Rollins". I took a look and said, "that's him!" and we approached him as we had seen him on at least two occasions in the previous year, each of which was marvelously thrilling. My girlfriend at the time rather lacked for tact, a trait that was more than made up for by the fact that, as stated above, she was very easy on the eyes. So she says to Rollins with great enthusiasm, "We saw you a couple of times this past year and you were so great. Then we got your latest record, what happened?" I immediately searched for a hole to fall into, but he was very gracious in his response to her. Of course if I had come out with a remark/question like that, I would have been fortunate if he simply turned around and walked away.

And then again, when my brother (a newkophile like myself) heard THE WAY I FEEL album so many years ago, he said, "he must feel like shit".

Just speaking for myself, my method is a very inefficient one. I have an extensive LP collection, none of which is catalogued so all that information on each record is not used. However, since I got into CD collecting during the PC era, every time I acquire a CD, I document its contents into a database that includes two fields for the beginning recording date and the final recording date. (If there are several recording dates on the CD, all those in between the beginning and the final one are not retrievable.) I keep a separate subset of this database on an Excel spreadsheet in which the primary sort is by beginning recording date, e.g., 56-09-10, which is Sept 10, 1956. When Sept 10th comes up, I'll do a search on "09-10" which will then yield a number of years (hopefully) from which I'll make a post to the forum. Since, like so many Org subscribers, I now own a couple of thousand CDs and there are a maximum of 366 days in a year, something inevitably turns up. I'm sure you're sorry you asked at this point. B-) BTW, the database was really constructed not primarily to retrieve dates, rather to do searches of specific musicians, tunes, jazz styles, etc., from which I make terrific personalized CD-Rs for myself and friends if I do say so myself.

May 8th. Recorded on this date: 1949 (5/8 - 5/15), Miles Davis & Tadd Dameron appear at the Salle Pleyel in Paris in a quintet with James Moody, Barney Spielery & Kenny Clarke (Sony). 1957, Horace Silver Quintet with Art Farmer, Hank Mobley, Teddy Kotick & Louis Hayes - THE STYLINGS OF SILVER (Blue Note):