tooter

I would like to extend a warm welcome to our newest member walsp - hope we will see you posting soon. Rodney

Marty - I take it you have confirmed that the picture is less than 100KB? I am certainly no expert on this business but I have found that it needs to be alittle smaller than the stated maximum size. If the size is the problem you would get a message I think. Rodney

Thanks guys. I expected [The Immortal Charley Christian] to be all tracks with him included in the line-up somewhere. Too naive I guess. You have confirmed what I suspected.

Ten tracks have been issued on Columbia and Laserlight but checking Groovin' High, Dizzy Atmosphere (aka Dynamo) and All the Things You Are seem to show that those three at least were played by a group that didn't include Charlie Christian. The guitarist seems to have been Remo Palmieri in a Charlie Parker group (Guild February 28 1945) I am not sure about this and wonder if anyone can throw any light on the matter; verify the complete personnel listings if possible. Even less sure about Hot House.

I'm just catching up on this thread - a little late. Very interesting to read your comments, Mike. I'm sure a lot of these apparent misdemeanours are simply caused by confusion or forgetfulness. I came across a couple more duplicate tunes. "Bud's Blues" is called "Ronnie's Blues" on the Ronnie Scott album [When I Want Your Opinion I'll Give it to You]. And the tune called ""Curro's (or Currio's)" on [Out of this World by Pepper Adams and Donald Byrd is also known as "French Spice" on [Free Form] but this is just a renaming by the composer I suppose. I must try to get the Gryce book - sounds interesting.

As far as I know, the composer of Morning Star is Rodgers Grant, who used to play piano in Mongo Santamaria's band, taking also part in Hubert Laws' "Flute-by-Laws", an early Atlantic date by the flute player. Luca Thank you, Luca. I don't like these little mysteries to go unsolved and, despite your caution, your answer sounds convincing. Information to be stored away and resurrected at some appropriate time one day, I hope! There must be millions of these inaccuracies at AMG.

Now I know where I heard #10 - Morning Star. It's on the Stan Getz Gold, or Live at Montmartre Vol 1, album - the only version I've got. According to AMG the composer was someone called "Grand" (Michel le?) but the album shows "Roger Grant". Again it's the only tune I have written by him as far as I know. AMG shows him as "rock" genre and the Joe Hall album has a bass player called Roger Brant and an engineer called Roger Grant. Do engineers write tunes?

Continuation - I sometimes run out of time doing these, fiddling about, and lose all I've done. So in instalments. 7. Ditto 3. No ideas. 8. Maiden Voyage. Composer playing? 9. Know the tune but can't name it again. Shorter on sop sax? 10. Yet again, tune familiar but that's all. Very nice track - I'm sure i know it but can't pin it down. 11. Is Dave Liebman in there? Not so keen on this one. 12. I can never identify singers because I hardly ever listen. Sounded a bit bland to my prejudiced ear. 13. Back on track. I've a suspicion that I know there players but that's all it is - no guesses. 14. Here's that Rainy Day. Very smooth. No idea who. 15. No clue. Thanks again Daniel.

I habitually make a list on a piece of card for the BFT, if seven times is long anough to be called a habit. I then circle the numbers that I particularly like. This one is almost all circles - a long unbroken line of them anyway. Haven't read any previous comments. 1. Tune is by Dizzy and another. My guess for the band is this 2. Have You Met Miss Jones will not be a mystery. This one? 3. So nice a track that I wonder that I am puzzled that I can't guess who or what. This is one to kick myself about later I guess. 4. Poinciana - could it be tihs? 5. Sure I know the tune but can't give it a name. No ideas. 6. This Could Be the Start of Something Big. I guess this one. Will post more later.

I acquired [All Members] not too long ago, but had never heard of Don Sleet either before that. Nice album - Jimmy Heath too who is a favorite. And a top class rhythm section (Wytnon Kelly, Ron Carter and Jimmy Cobb) - got to be good.

Sending PM - looking forward with high hopes as usual.

And from me too - a very Happy Birthday, and many happy returns.

Thanks, Mike. I suppose they tested with musicians unknown to him, otherwise hed would have surely got more. I just heard an item on the radio about it I think, but the name rings a bell.

That there is a place here for the not so expert and they can even join in, and perhaps initiate, discussions without too much danger if they are prepared to weather the occasional harsh comment.

Well, I will be ready to post something quite soon I expect. Tomorrow? It's important to keep the ball rolling, especially for those of us way down the compilers' list.

I heard or read a story about a jazz artist who said he could always tell whether a musician was black or white just by listening. He was put to the test and failed even to get the score that the law of averages should have given him. I forget the details though - does anyone know who, when, where?

BFT #12 arrived this morning - thanks you, Daniel. I am going to wait until I can sit down and concentrate for a first listen.

Hank for me - way out front.

Very interesting thought! I think I can agree, 'cause that's the music he plays with all his heart and spirit, and playing modern he is more the intellectual type. I find Freddie Hubbard somewhat overrated, playing superficial stuff at times and too self-indulgent. Randy Brecker. Very good studio man, but not very original as a soloist. I think Booker Little is not overrated - he was still very young when he passed, and who knows what wisdom would have made out of his great tone? Kenny Dorham - couldn't disagree more - probably not to everyone's taste, but one of the greatest. Agree on Sandoval - too much flash. Mike - glad you said that about Freddie Hubbard - I agree. I also agree wholeheartedly about Booker Little. The album of the same name, with Tommy Flanagan, is near the top of my desert island disks. He had a technique that was incredible and he used it to the full which is sometimes a path to pyrotechnics for their own sake but not in his case. He stuck to the straight and narrow on that album at least.

Name one. Especially one who lacks the "individual" aspect. Jim - Yes.... not so easy! But the "/" are "and/or's" so I fall back on the "or". Okay, in for a pound. Lee Konitz. (This thread is about trumpet players I know but I can't think of a good example just now and I think you said "horn players" earlier.) His tone has never appealed to me and by his own admission (or boast?), he plays "sharp" - that is to say, at a higher pitch than would be "correct". But I still like his playing very much because of his skill and art as an improvisor. I might have said Benny Golson at one time because I was not keen on his sound for a while when I first heard him but then it grew on me and I came to realise what he does with the changes of tone, the shadings. Harold Land is another who it took me a while to get used to but now I have gone the other way. But then his sound changed quite markedly at one stage in his career I think. I'll give it some thought but I might have to admit the "individual" was a mistake. This boils down to a matter of personal preference in the end - "one man's meat...."

I've got (borrowed) Tom Harrell's big band album [Time's Mirror] at the moment. There is a good review at AMG and yet I found it uninspired mostly, not to say insipid, somehow. And yet when he played with the Gerry Mulligan big band a few years ago he struck me as very inspired indeed. Ebbs and flows? Do we use overrrated/underrated as a convenience just to say who we like or don't like? As I mentioned before, it should be relative but I doubt that it often is. How do we know what their rating is? Very subjective and probably seriously inaccurate, unavoidably.

Another name I thought about adding but didn't at the time was Marlon Jordan. I have only heard him once, on record, but disliked his playing so much that I have never listened to him since. Is this also unfair? - anyone can have an off day. I have little idea of what his "rating" might be. If it's very low then perhaps he doesn't qualify as being overrated. Is anyone familiar with his playing of late?

I confess to not having heard Wynton recently at all, from choice as I have dismissed him from my lists. This is surely unfair as all players no doubt have ebbs and flows, and in some cases quite markedly so I imagine.

Dan - isn't this a bit like saying a ballet dancer's right foot is more important than her left? Not that I know anything about ballet dancing I hasten to add - perhaps it is! I think the notes played, for a start, are of at least equal importance to the sound employed to produce them. Horn players can have a sound that is not so attractive/forceful/individual/musical even (etc) and yet still manage to play rivetting jazz. I do think the tone is important, however, just not more important.

Overrated (or under) is relative - a player can be rated at a high level and be overrated only a little, or at a lower level and overrated a lot - or vice versa. Larry - very interesting to hear of your experiences with CT. Surely there must be a lot in the level of stimulation a player is subject to. Some need it, some don't.