MartyJazz

OK, found my notes which are very limited unfortunately. 1) "It Had to be You" by Spike Jones? 2) Terry Gibbs Orchestra? One of those Contemporary albums perhaps. 3) Should know this tune as I know I've heard it before but I can't place it. Too dance band-like for my taste. 4) "Six Flats Unfurnished" I believe. Haven't heard it in years, the version I'm familiar with is that of Benny Goodman who didn't solo on that one so perhaps this is the same version? 5) Got to be Duke doing a late '60s version of his "Rockin' in Rhythm". I have a double Solid State LP issue, this may be the same version, not sure. 6) It sure sounds like Pres on one of those Basie swingers, but this is a smaller group. Can't place the track. OK, more homework to do.

Yeah, I recognized "Frank's Tune" on track 17 also from versions I have that feature Frank Strozier, in a Shelly Manne Quintet and with George Coleman's Octet. Alto is not Strozier however. Unmistakably it's Jackie Mac, trumpet sounds very much like Lee Morgan. Trying to run through all the usual suspects on trombone and am pretty sure it's NOT J.J., Curtis or Slide so I'm stumped there. Ditto with the piano. Drummer is probably Higgins. Where is this version from???? Probably an obscure Blue Note that I definitely do not own. OK, got to find my notes on some of the other tracks.

Is that a bad thing?

Got mine today. Listening right now and recognizing a few tracks from when I first got into this music so many years ago. Thanks for the memories!

OK, re this thread one or perhaps two things are happening right now. 1) Since the previous post occurred three days ago thanks to yours truly, it may be that no subsequent posts have been made because I do seem to have an uncanny talent (?) for stopping a thread dead in its tracks AND/OR 2) It really is time to post the answers To BFT #20 because everyone has said what they wanted to say.

Thanks for that link! This one's definitely leaped to the top of my wish list, and since I anticipate some cash gifts for Christmas, I will definitely be ordering this soon. Ditto! Terrific link. Gotta have it.

Yeah, I had forgotten about the '85 set I guess because I was concentrating on the string of mid '60s dates. Interesting too because I was fortunate enough to have been at the Vanguard in '85 during the week that Henderson recorded with the trio.

Finally, finally got my disc today. (Have to make a copy for Dan Gould). But got to listen and since my curiosity got the better of me and I've been looking at the answers, I'll simply use this space to positively identify two tracks, the first of which the artist was correctly guessed at. Track 12: Obviously, "Four Brothers" but retitled "Four Rich Brothers" on Vol.1 (Hep CD 12) of two CDs that I have of Buddy's boppish 1947-48 band. More info here: http://www.hepjazz.com/bios/buddyrich.html Track 14: Recognized this track immediately as it was on an old Columbia Harmony LP that my father bought some 40+ years ago (which I still have). It was music like this that got me into jazz. Since I can't find a link for a CD that contains this track, further googling got me to this site which clicking on "Song Number 2" has an excerpt of it: http://members.aol.com/bigbandpage/era0406.html Thanks for the belated enjoyment! Marty

Joe Henderson! Although he made only 5 Blue Note albums as a leader, all are essential in my opinion. I feel the same way about Kenny Dorham's Blue Note sessions as well. Consistently very good and occasionally great.

You're absolutely correct in this regard and I certainly didn't mean to equate any or all of these activities. I had just lumped all non-straight sexual and/or physically abusive activity by jazz artists I've listened to for many years into stuff that I was not thrilled to hear or read about. To the extent that I insulted you or any other reader here, I sincerely apologize.

Oh great, now I'm being lectured. Am I supposed to rejoice at the news that Diz, Miles, Gary Burton, etc., have engaged in gay activity? Tolerance I have in spades without getting into a "some of my best friends are..." type of argument. But I always find that kind of unexpected news disappointing. I can't be hip enough to say, "hey, that's cool".

Whoa! Gay activity??!!!! Please, does it get any worse than what's already been related on this thread? What's next, pedophilia, cruelty to animals, etc.? I don't think I can take much more.

OMG, Chris. What a horrible story, all the more so because of the beautiful positive image Diz retains in the minds of we jazz hero worshippers. Another of my jazz idols, Charles Mingus, has a notorious history but nothing as bad as what you via Valerie Wilmer has revealed. Incredible. I really don't want to believe this.

A couple of years ago I sold the Paul Bley album pictured below - $150 for a mint copy of the LP. Before selling I taped it, a tape which has since disappeared. Would love a CD-R of it as Amazon.com lists the Japanese issue of the CD itself for $39.99 (free shipping - big deal!). While I hesitate to ask for CD-R dubs of currently issued CDs, I'm not about to spend $40 for any single CD. If anybody can make a CD-R of it, I can offer a CD-R of rare or OOP stuff in exchange. PM me, no flames or copyright lectures please.

Again, if you click on "external reviews" within IMDB once you've located your particular film, Rotten Tomatoes (which, in itself contains a slew of short reviews) will be listed among the review sources available. As such, IMDB serves as an intermediary to all the online film reviews available.

You are missing something. Once you've located the film you want within the IMDB, click on "external reviews" in the left hand column. Depending on the recency of the film, you'll get anywhere from one to 100+ links to "professional" film reviews, e.g., Roger Ebert, New York Times, Film Comment, etc.

I am a convert to the Netflix way of providing DVDs for over 6 months now and I've yet to visit a Blockbuster in that time. Since I average about 12 films a month, the $18 monthly charge is a bargain especially in that it is door to door and there are no postal charges. I additionally like going through the Netflix database for film synopses as well as critiques by viewers like you and me which I supplement, if warranted, with professional reviews available from the Internet Movie Database (IMDB.com). Since Netflix was the service that came up with this novel and efficient method of doing away with film rental fines, especially the high fees associated with Blockbuster overdue rentals, I feel that my loyalty will always be with Netflix. (Of course, they probably will be acquired or merged with Blockbuster in due time, I'm sure).

Your point is well taken about Maggin's glossing over Getz's musical contributions, stylistic evolution, etc. But in terms of giving the reader some knowledge about and possibly insight into an enigmatic, addictive personality who happened to produce a significant body of work, I found his biography a very good read.

not yet received!!! better send out a search party!! Ditto, the southeast Florida contingent also includes Dan Gould and myself. We have yet to receive the coveted BFT 20.

Glad you finally got a chance to compare the two and to corroborate my assertion about the two takes of "Will You Still be Mine". As you state, both are excellent, distinctly different, and the mono version which is longer by a minute and a half turns out to have been a real find. I e-mailed this info to sites that post Brubeck and Desmond discographies, both of which indicate a lack of knowledge about the two takes, but have not received any response.

An absolute Mingus must is BLUES AND ROOTS (Atlantic). Recorded shortly before MINGUS AH UM, it is a stronger, more intense session with fabulous blowing by McLean, Pepper Adams, John Handy and Booker Ervin. Other excellent late '50s Mingus are: EAST COASTING (Bethlehem) THE CLOWN (Atlantic) I also highly second the previous recommendation of TIJUANA MOODS (RCA Victor). IMO, all of the above are essential Mingus. edited for spelling

For me, one of the great highlights of this set of which there are many is the trumpet "battle" between Fats and Howard McGhee on "Double Talk". Great, great playing. I echo what others have said, get it!

Just off the strength of his playing behind Joe Henderson on the latter's 1972 LIVE IN JAPAN date (Milestone), I nominate Hideo Ichikawa. In particular listen to his comping and solo on "Blue Bossa" alone. Tremendous!

There's more MUSIC going on here than most high speed bop songs ever recorded. And on the contrary, the musicians seem to all be on top of their game. Once again we're arguing tempo not substance. No, we're not arguing tempo. I can listen to "Idle Moments" and "Django" from Green's IDLE MOMENTS session without any problem whatsoever as that is a consistently interesting date. On the other hand, AM I BLUE is a ponderously boring date IMO. What's more I had the temerity to personally say it to Joe Henderson 30 years ago when I casually knew him when he temporarily lived in the same neighborhood (Brooklyn Heights) as I did. He too felt that he had recorded better stuff with Green. That certainly doesn't cinch the case for my view, but it doesn't hurt either.