MartyJazz

I was fortunate to see Billy Higgins quite a few times, the last I believe, with a Bobby Hutcherson quartet (along with Kenny Barron and Buster Williams) at Sweet Basil, circa 1991. He was a joy to watch and his passion and love for making music was always quite evident. "Smiling Billy", so true.

You're right, Cecil was there. When I was writing my previous post, I kept searching my memory about Cecil thinking that he was there but for some inexplicable reason I was unsure. My greater memory of Cecil is one of being mesmerized listening to him speak at the Vanguard one afternoon prior to the show. Max Gordon used to let us, i.e., the members of the JAPM, meet on various afternoons at the Vanguard where we would "plot" strategy, etc. It was there that I got to meet quite a few great musicians, all of whom have been mentioned in my previous posts about the JAPM. As for the music on the Sullivan show, you're right that it was not a "tight" performance by any stretch of the imagination. But it was a thrill to see those guys up on the stage. One other memory comes to mind about that show. There was a point where the musicians gathered on stage just after Sullivan introduced a promotional film clip from a new film that had just come out, "Five Easy Pieces". For some reason, I recall Mingus really laughing during the scene that was shown, that of Jack Nicholson in a funny, sarcastic exchange with a waitress in the film. Haven't thought about that in years.

Lee Morgan was involved to some extent in the JAPM and he may very well have shouted on one of those occasions, but I just don't recall it at this point. However, his common-law wife at the time, Helen (the same woman who fatally shot him at Slug's (an ironic name for a jazz club now that I think of it) in Jan '72 - I was there that night also but that's another story!), was far more involved. She was our treasurer if I remember correctly. Frank Foster's wife, Cecelia, also was an important member of the group. B)

Jim R., congratulations for leading us in the right direction on that track 8. I am listening to my record of this piano duo! You guessed right! Drat! This is a first for me: not recognizing a recording I own! Way to go, Jim R (you bathturd!) THAT WAS A FIRST FOR YOU?!?!? Sheesh! It's AL-ready happened to me about 37 times (probably a slight exaggeration). Anyway, you were overdue! So... Al... you OWN that CD, eh? MAN, would I like to hear that sometime... ( ) Having really dug track #8, I went on to CD Now to check on it's availability. Two used copies for $39.50 and $40!!!!!! I'll wait on this one.

OK, here's a couple of remembrances. 1) When we disrupted the taping of the Dick Cavett Show (for you young 'uns, Cavett and Merv Griffin at that time (1970-71) were both shown late night opposite the king of late night TV, Johnny Carson), we knew we were going to protest at some point in the show, but we hadn't planned on when. So we were fidgeting in the audience, looking at each other, wondering when we should get up and start yelling and protesting about the lack of jazz on TV. Anyway, the old British actor Trevor Howard (Captain Bligh in the Brando version of "Mutiny on the Bounty") was being interviewed by Cavett. And he had obviously gotten wind that a protest was going to happen because when Cavett asked him about his thoughts about being in America, he replied with an impish grin, (and I'm paraphrasing somewhat but the gist is correct) "Well Dick, it's great to be here but I think there's just not enough jazz going on". At that point, we got up and started yelling, thereby pissing off practically everybody in the audience. 2) After we disrupted the Merv Griffin Show - I seem to recall that we got up as Charo started to do her act - we evidently were making waves because Fred DeCordova, the producer of the Tonight Show, contacted us to arrange a meeting. Rahsaan was always very outspoken and I could see that DeCordova, while being very professional, was not particularly enamored with Rahsaan's personality which could be quite gruff. In any event, although he promised to get back to us, in reality all he did was make sure that ticket requests were screened thoroughly and that security was heightened so that we would not be able to disrupt the Tonight Show. 3) Getting back to the Cavett show, Cavett promised to give us a hearing and keeping his word, there was a follow-up show a few weeks thereafter in which a "panel" of musicians discussed the state of jazz on TV with Cavett. Among the panel: Rahsaan, Freddie Hubbard (who told Cavett that he was "the greatest trumpet player in the world"), and Billy Harper. It's disconcerting to me that I'm not sure who else was there at this point. I should have kept a diary. Hope you found the above somewhat enjoyable.

I think you're right on with your assessments of both IT MIGHT AS WELL BE SWING and the LIVE AT THE SANDS recordings. (I never could stand Sinatra's Vegas patter and on stage demeanor). As for voice sounding tired on the latter, this problem unfortunately surfaces to a greater degree on the collaboration with Duke done in late '67. Even a wonderful rendition of "Indian Summer" can't save this album from the feeling that a terrific opportunity for a memorable album was wasted.

Found it: Stopping the white wash Rahsaan Roland Kirk on TV By DAVID HINCKLEY Rahsaan Roland Kirk with Ed Sullivan

I attended that Ed Sullivan show as I was a member of Rahsaan's "Jazz & People's Movement". The group was a sociopolitical one started by Kirk and a friend of his, Mark Davis, with the main goal of trying to get more jazz on TV. Previously, we had disrupted the taping of several late night shows protesting the lack of jazz on TV, including Dick Cavett and Merv Griffin. That activity had resulted in some small victories, including the appearance on the Sullivan show. Aside from Rahsaan & Shepp, the group onstage at the Sullivan show included Mingus and Roy Haynes among others and the performance was an abbreviated version of Mingus's "Haitian Fight Song". One thing I recall is Sullivan's total ignorance of jazz. He misread the cue card when introducing the group, saying, "And now, here's Rammmmsin Roland Kirk!". I also recall Sue Mingus sitting behind me in the audience. I had a lot of fun back then.

Great job. Disappointed that I didn't do better especially considering that I have the albums for which you identified tracks #1 & 5. Still can't wait to know who the pianist(s) is (are) on "The Man I Love".

I copped a mono Blue Note New York pressing of this over 30 years ago. It is a very nice album.

Just want to say that the version of "The Man I Love" (track #8) is absolutely terrific. Really cooks. Can't wait to find out who that is. Another terrific cut, altho definitely earlier is the version of "Just One of Those Things" (track #6). Very Tatem-esque (is that Big Sid Catlett on drums?), but since it's so early '40s sounding, I'm somewhat stumped partially due to the sheer length (7 mins +) of this track. Finally, I'll hazard a guess on the unknown title that is track #2. Jelly Roll Morton?

Sorry for doing this in such a piecemeal fashion but as soon as I come up with the answer, I write a post rather than gather all the info together for one big post. Anyway, track #12 which I should have gotten a lot sooner (considering I'm a completist when it comes to him), is of course, "I Should Care" by another jazz giant, for which the current CD issue (I only have it in LP form) is found here

OK, track #4 is a famous composition (if I say the title, then the answer should be obvious) by a legendary figure who plays the piano here but was better known on another instrument. His biography can be found here

I'm enjoying this piano disc. Lots of familiar sounds (and certainly a very good proportion of standards) by pianists well represented in my own collection, however at this point, the only definitive one that came to mind was on track #10, the cover of "Blackbird" which can be found here. Will listen again to try to come up with more educated guesses. Thanks for the disc, it's challenging.

Just curious as to how you know it's a great session since you write that the LP was pretty expensive to purchase and there is no record of a CD having ever been issued. I have it on a French Verve LP reissue and while it is somewhat uneven, it does have some excellent tracks.

I have it on a Japanese Philips (822 897-2) that was issued in '86 with an additional track.

As my avatar indicates I'm a big Newk nut. But concerning J.J., I once had the pleasure of running into him (1976) on a boat to Catalina Island. He looked very much the tourist with a camera around his neck. Recognizing him, we got into a great conversation....he pegged me as being from New York immediately. I told him that my favorite stuff of his was on two dates where he was a sideman, the aforementioned Rollins, Vol. 2 and Horace Silver's Cape Verdean Blues. He agreed that those albums contained some of his best work. Back to Rollins, Vol. 2 is a killer and certainly my favorite of the Blue Note recordings. Nobody has yet mentioned the terrific version of "You Stepped Out of a Dream". It's rare to hear cooking like that anymore.

It is indeed a great album, but I tend to favor the non-Clark Terry cuts, i.e., "You for Me", "Soon" and in particular, "Airegin" all of which feature extended tenor solos. His playing certainly doesn't "wear" on these ears.

I second your recommendations but in particular the first two (DOWN IN THE VILLAGE and LATE SPOT AT SCOTT'S which I have on the Redial label) which were recorded during the same week of May '62. They are truly fantastic recordings. Everyone's on fire and the trumpeter in particular, Jimmy Deuchar, was quite a revelation to me when I first obtained these discs. Very evocative of Kenny Dorham with technique to spare. And Hayes is superb throughout, certainly on tenor and soprano, but on vibes (!) as well. He was truly a giant of a jazz musician. Hayes' comments and humor between tracks are also a plus. Very highly recommended.

The Columbia LP MISTERIOSO (recorded on tour) was reissued in its totality (no additional tracks) on Columbia 468406 2. The CD label itself says "made in Austria" . The back insert states "printed in Holland/distribue en France par Sony Music". I found it 2nd hand so I wouldn't know how you would go about acquiring it.

Perhaps because I've grown so familiar with their compositions over the years, I would add: Kenny Dorham Benny Golson Gigi Gryce Andrew Hill

This is doubly embarrassing for me because I bought the LP when it first came out (around '79) and the CD at a bargain price a couple of years ago!

I saw Dexter Gordon at the Village Vanguard on several occasions in the mid '70s. Terrific stage presence. As you indicate, he would very methodically recite the lyrics to a ballad just prior to playing it, in particular I recall he doing so with "You've Changed" and "Polka Dots and Moonbeams". He also did a gesture that was very hip and does not come across on live recordings except if you have a video or DVD, namely, he would extend the saxophone horizontally with both hands towards the audience as they were clapping at the end of piece, as if to say, "here is where the music is coming from, I'm simply the messenger". He was also very funny. I was fortunate to see him invite Sonny Stitt from the audience to come up to the stage and jam with him - the tune was McShann's "The Jumping Blues" - and he did so by saying that he would like to bring up "an old........a VERY old, friend". I didn't realize how much I valued those experiences until I saw this thread. Thanks.

Gioia is an excellent writer whose informative analysis of jazz artists is enhanced by the fact that he also happens to be a musician. I also liked his WEST COAST JAZZ but would particulary like to recommend what I believe was his first book, a relatively short one about the uniqueness of jazz as an art form, titled THE IMPERFECT ART. Really excellent and thought provoking

Sorry. I didn't realize that an album titled THE TENOR OF BILL BARRON, would have more than one tenor on it. Obviously, that side is not one of the 3 Barron LPs I do have.