Hardbopjazz

She'll most likely either back down or not agree.

Because, they will then go and sell it at a higher price. If they were to keep it for themselves, I cool with that. I know someone who did buy a large collection from an estate sale at a real low price, and he went and so most of it on ebay for a lot more.

This site has been great. I've found a lot of stuff. I am right now downloading a Louis Armstrong show from 1954.

How many of our wives, if we were to up and die tomorrow, would know what to price our jazz collection at? Would someone going through the estate sale water at the mouth, knowing he’s going to make a kill? My wife said to me last Friday, "I bet if you sold your 2000 plus CD’s you could get about $200.00". My Mosaics would get me more then $2000 alone. My albums, many OOP, would also get me about $2000.00. I hope I live long enough so I don't have to worry about this. How to educate her on the value of music collection? This all came about when I saw in the local town paper where I live, an estate sale the next town over for a Nathanial Washington. The six-line blab in the paper said there were records and CD’s being sold. With a name like Nathanial Washington, got me thinking I could find something good there. As blunt as this made seem, this is where you can find some gems. Well anyway, I never made it to the sale.

Rare auction spotlights African American treasures Original Duke Ellington scores, for sale in a rare auction, show his creative process BY KARIN LIPSON STAFF WRITER February 26, 2004 Auction consultant and musician Wyatt H. Day got a phone call that left him stunned: The caller owned some original musical scores by jazz legend Duke Ellington and wanted to put them up for sale. "My mouth hung open," Day recalled. "This is the kind of stuff that you just don't see." When he did see them - arrangements for brass and reeds, handwritten by Ellington in pencil, jotted with instructions to his band members and, in one case, signed with a distinctive flourish - Day's excitement level jumped a few more octaves: "It was like handling a Mozart score," he said recently. Maybe Mozart jamming at the Cotton Club, the jazz nightspot where the suave Ellington and his orchestra held sway, first in Harlem and later downtown, starting in 1927. At least three of the scores, which will be auctioned Thursday at the Swann Galleries in Manhattan, were created for the Cotton Club. That swank nightclub figured large in the early Ellington sound, said the scores' consigner, who spoke on condition of anonymity. "They were the house band at one of the most popular clubs in Harlem, where the elite would go," he said. "So they became very famous very quickly, and also Duke had the opportunity to try out different arrangements with the orchestra." Although it was seen as the Carnegie Hall of nightspots, the Cotton Club was hardly demure. "There was drinking, debauchery, music - it was heaven," the scores' owner said. "It was where everybody wanted to be." Gift from son A musician himself, the consigner said he got the scores as a gift from Ellington's son, Mercer, with whom he worked closely as a musical assistant. They range from a reworking of Harold Arlen's "Stormy Weather," which Ellington recorded in 1933, to the classic Ellington hit "I Got It Bad and That Ain't Good" (1941). Offered in six lots estimated to sell for $2,000 to $6,000 apiece - and presented as the first original Ellington scores ever to go up for auction - they're part of a sale of African- Americana organized by Day. In an event that includes boldly colorful movie posters featuring Lena Horne and Paul Robeson and a pastel by Harlem Renaissance artist Aaron Douglas, Ellington's slightly smudged, penciled scores may not be the most visually arresting material up for grabs. They are, after all, just notes on a lined page, mostly quick sketches to be fleshed out later. (Was it haste that led Ellington to spell his song title "I got it Bab" instead of "Bad"?) For Ellington lovers and other jazz buffs, however, the scores provide windows into the mind of an American icon. "You can put him up there," said Monk Rowe, director of the Hamilton College Jazz Archive of videotapes in Clinton, N.Y. "If you're going to name American composers, you can name Aaron Copland, and you can name [Leonard] Bernstein, and you can name Duke Ellington and [George] Gershwin." To jazz historians such as Rowe, the scores ("Oh, wow!" he said on learning of them) help illuminate Ellington's combination of creative genius, canny management and bonding with fellow musicians. Such scores let us "see his thinking process," Rowe said. "Ellington was famous for writing for individuals, not just instruments." Unusual for seeking out players with a distinctive sound, rather than mere technical prowess, Ellington wrote to their strengths, incorporating their styles in his music and allowing them ample solo time. Many band members stayed with Ellington for years, even decades. There they are, woven right into these scores: "Cooty ad lib," Ellington writes, a notation to trumpeter Cootie Williams; or "Bridge to Rab," referring to saxophonist Johnny "Rabbit" Hodges. Instructions to sax players Harry Carney and Ben Webster, trombonist "Tricky Sam" Nanton and clarinetist Barney Bigard also pepper the manuscripts. Smithsonian's trove Though the scores may be rare on the open market, such Ellingtonia abounds in the Smithsonian Institution's Duke Ellington Collection. "We have 200,000 pages of documents, half of it unpublished music" composed or arranged by Ellington and his bandmates, said John Edward Hasse, an Ellington expert who is curator of American music at the Smithsonian's National Museum of American History. With its trove of Ellington scores, the Smithsonian material "would probably duplicate these things," said Day, of Swann Galleries. "Just like a writer, [a composer] wouldn't just scribble it out. There would probably be different treatments of the same tune." And, of course, recordings. "Ellington is probably one of the most well-recorded artists in the history of jazz," said Dan Morgenstern, director of the Institute of Jazz Studies at Rutgers University. The interplay between manuscript and recording is important, Day agreed. In fact, it's pretty much the point. "We knew what he sounds like. This is what it looks like." Hear daily radio features commemorating African-Americans at www.newsday .com/entertainment.

I would have say bagpipes. But... Sonny Rollins used bagpipes during his 1974 European tour. Can't image someone soloing on bagpipes. http://montreuxsounds.com/ SONNY ROLLINS Jul 6, 1974 Congrés Montreux Sonny Rollins (ts) Rufus Harley (bagpipes) Stanely Cowell (p) Bob Cranshaw (B) Masuo (g) Mtume (congas, perc) David Lee (dr) 1. The Cutting Edge (06:35) 2. A House Is Not A Home (05:57) 3. Direct Line (06:45) 4. Swing Low Sweet Chariot (19:30) 5. Alfie's Theme (10:52) 6. To A Wild Rose (08:25) 7. Don't Stop The Carnival (Calypso Everywhere) (05:35) 8. Sonnymoon For Two (19:03)

Thanks Jazzbo. I was listening to some Miles Davis from the Cellar Door and didn't know the location was.

I have to add Phil Schapp to the list, even though he is better known as a jazz historian. I like the work he did on the Bird Verve box set.

Can anyone tell me this?

This was a move from I belive the late 60's with Dexter Gordon. I believe it's a movie from Sweden.

I have to say Orrin Keepnews. I always enjoy reading his linner notes.

If you were doing an album, who would you want playing behind you? I play Piano, so I would choose as my backup Drums, I have to say Art Blakey. Trumpet, a toss up between Brownie or Morgan. Bass, Paul Chambers Tenor, Mobley.

I've seen Lou 5 times. I never seen Jimmy Smith or Ray Charles. Avery Fisher Hall is where they are at. If the acoustics are as you say, I'll go see Smith. Plus t is a lot less money then Avery Fisher Hall. $27.5 compared to $75 per ticket. Lou is not like the past? What is it, his age? He always was swinging when I've seen him.

I been on many forums and I am in the process of setting one up for the industry I am in. This forum is by far the best in terms of ease. I am working with a package called WowBB. Don't like all that much. But I only began to test it. What one does this forum use?

How about Wes with the Modern Jazz Quartet? Wes did play with them and was offered to come join the band full time. He turned it down because he didn't want to away from his wife and kids for too long. Was this ever recorded?

Somebody on the BNBB said a collector had offered a copy of the tape (it's about 45 minutes, supposedly) to him for $2500. He declined.

I would say it is a safe bet, that the most sacred and sort after recording by any of us jazz archeologist, is finding a the recording of John Coltrane and Wes Montgomery. I can't think of any other legendary teaming that I which would surface. Any others come to mind?

Any ideas? He's still alive, but I've never hear anything about this b3er.

Does anyone know if Sonny Rollins will be playing the NY area this year? I known he doesn't do many shows anymore.

Where they be playing? I am going for training in April in Atlanta.

UK Medics to Prescribe Maggots as Wound Cleansers 2 hours, 32 minutes ago Add Health - Reuters to My Yahoo! LONDON (Reuters) - British doctors will be able to prescribe maggots to NHS patients with infected wounds from Friday onwards, a hospital official said. He said the National Health Service had realized maggots were a cheaper and more beneficial way of treating wounds than using conventional medicine. Patients would be able to treat themselves at home and avoid the possibility of picking up a hospital infection. Maggots have been used for centuries to rid wounds of decaying flesh, but after the discovery of antibiotics their use went into decline. "People didn't like the thought of creepy-crawlies on their skin," said Tony Fowler, customer services manager at the Princess of Wales Hospital in Bridgend, Wales. "But now there is a renewed interest because of the problems caused by the over-use of antibiotics, and the NHS has seen the cost-effectiveness of maggots." Research at the Princess of Wales Hospital confirmed that placing sterile maggots on wounds could make them heal faster than conventional medicine. The creatures devour dead, infected tissue and kill off bacteria that could block the healing process without damaging the surrounding tissue, since they cannot ingest healthy flesh. Previously, patients could obtain sterile maggots from certain hospitals and research centers.

I'm stuck between going to see Jimmy Smith trio at the Iridium and Ray Charles and Lou Donaldson at Lincoln Center. Which would you choose?

Yeah, I would never have this on a list of the top 1000. Maybe it's to introduce the listerner to the "smooth jazz" sound. A list in general can never be gospel. My daughter is doing a report for 5th grade on American Music, this list was on a site we hit while doing some researching.

Here is a list of the 100 must have or essentials of a jazz collection as list by some Educational web site on jazz. Who the hell is Bobby Womack?!! I never heard of him before. Cannonball Adderley – Somethin' Else – Blue Note Cannonball Adderley – Mercy, Mercy, Mercy – Capitol Louis Armstrong – Louis Armstrong & Earl Hines – Columbia/Legacy Gene Ammons – Jammin' in Hi-Fi – Prestige Count Basie – April in Paris – Verve Sidney Bechet – Sidney Bechet & Friends – EmArcy Tony Bennett – Jazz – Columbia Bobby Hackett – That Da Da Strain – Protrait George Benson – This is Jazz, Volume 9 – Columbia/Legacy Art Blakey/Jazz Messengers – Moanin' – Blue Note Art Blakey/Jazz Messengers – A Night at Birdland, Vol. 1 – Blue Note Lou Donaldson – Blues Walk – Blue Note Clifford Brown – Clifford Brown & Max Roach – Verve Dave Brubeck – Time Out – Columbia Ray Bryant – Here's Ray Bryant – Prestige Benny Carter – Further Definitions – Impulse Betty Carter – The Audience With – Verve Ray Charles – Greatest Hits – Rhino Sonny Clark – Cool Struttin' – Blue Note Nat Cole – After Midnight Sessions – Capitol Ornette Coleman – Change of the Century – Atlantic John Coltrane – Giant Steps – Atlantic John Coltrane – John Coltrane & John Hartman – Impulse John Coltrane – Ken Burns' Jazz – Verve Miles Davis – Kind of Blue – Columbia/Legacy Miles Davis – Porgy & Bess – Columbia Miles Davis- Tutu – Warner Miles Davis – Birth of the Cool – Capitol Charles Earland – Almighty Burner – 32 Jazz Billy Eckstine – Jazzmasters 22 – Verve Duke Ellington – At Newport – Columbia Duke Ellington/Johnny Hodges – Side by Side – Verve Bill Evans – Jazz Showcase – Prestige Ella Fitzgerald/Louis Armstrong – Ella and Louis – Verve Ella Fitzgerald – Gershwin Songbook – Verve Tommy Flanagan – Overseas – Prestige Red Garland – Red's Blues – Prestige Bobby Womack – I Don't Know What the World Is Coming To – United Artists Erroll Garner – Jazzmasters 7 – Verve Stan Getz – Ultimate – Verve Stan Getz – Getz/Gilberto – Verve Dizzy Gillespie – Gillespiana/Carnegie Hall – Verve Dizzy Gillespie – Birks' Works – Verve Benny Goodman – At Carnegie Hall – Columbia/Legacy Dexter Gordon – One Flight Up – Blue Note Stephane Grappelli – Jazzmasters 11 – Verve Grant Green – Complete Quartets with Sonny Clark – Blue Note Lionel Hampton – Swingsation – Verve Herbie Hancock – Takin' Off – Blue Note Herbie Hancock – Headhunters – Sony Eddie Harris – Artist's Choice – Rhino Johnny Hartman – Unforgettable – Impulse Hampton Hawes – The Trio, Volume 2 – Prestige Coleman Hawkins – Ultimate – Verve Roy Haynes – Out of the Afternoon – Impulse Joe Henderson – Inner Urge – Blue Note Woody Herman – Thundering Herds – Columbia Billie Holiday – Ken Burns' Jazz – Verve Freddie Hubbard – Ready for Freddie – Blue Note Milt Jackson – Bags & Trane – Atlantic Antonio Carlos Jobim – Songbook – Verve J.J. Johnson – J.J. Inc. – Columbia/Legacy Quincy Jones – Pure Delight – Razor & Tie Wynton Kelly – Kelly Blue – Prestige/OJC Stan Kenton – West Side Story – Capitol Rahsaan Roland Kirk – Inflated Tear – Rhino Lambert, Hendricks & Ross – Hottest New Group in Jazz – Columbia/Legacy Yusef Lateef – Every Village Has a Song – Rhino Les McCann & Eddie Harris – Swiss Movement – Rhino Carmen McRae – Here to Stay – Decca Charles Mingus – Ah Um – Columbia Hank Mobley – No Room for Squares – Blue Note Thelonious Monk – The Composer – Columbia Wes Montgomery – Bumpin' – Polygram Wes Montgomery – Incredible Jazz Guitar – Prestige Lee Morgan – Sidewinder – Blue Note Gerry Mulligan – Compact Jazz – Verve Oliver Nelson – Blues & The Abstract Truth – Impulse Charlie Parker – Confirmation: Best of Verve Years – Verve Oscar Peterson – Sound of the Trio – Verve Bud Powell – Best of Blue Note – Blue Note Tito Puente – Oye Como Va: Dance Collection – Concord Buddy Rich – Swingin' New Big Band – Pacific Sonny Rollins – Saxophone Colossus – Prestige Artie Shaw – Mixed Bag – MusicMasters Wayne Shorter – Speak No Evil – Blue Note Horace Silver – Song for My Father – Blue Note Frank Sinatra – At the Sands – Reprise Jimmy Smith – Jazzmasters 29 – Verve Jimmy Smith – Back at the Chicken Shack – Blue Note Art Tatum – 20th Century Piano Genius – Verve Sarah Vaughan – Ken Burns' Jazz – Verve Dinah Washington – What A Difference A Day Makes – Verve Ben Webster – Ultimate – Verve Joe Williams – Everyday: Best of Verve Years – Verve Nancy Wilson – Yesterday's Love Songs, Today's Blues – Capitol Lester Young – Ken Burns' Jazz – Verve

I found this article on them. A Strange Place For Jazz Posted by Ross on August 29, 2002 09:09 PM (See all posts by Ross) Filed under: Music: Jazz E.S.T. Strange Place for Snow (2002) Somewhere Else Before (2001) Sweden may not be the first place that comes to mind when thinking about the future of Jazz, but out of the land of caribou and cloudberries comes the Esbjorn Svensson Trio (known more commonly as E.S.T.), a (mostly) acoustic piano trio that is helping to define, as the New York Times wrote, "Not what jazz was but a vision of what it can be." What it can be is beautiful music with a base in the styles of Bill Evans and Thelonious Monk, but seasoned with the open sounds of Scandinavian folk music, and fused with modern rock and the occasional shot of electronica. E.S.T., comprised of pianist Svensson, bassist Dan Berglund and drummer Magnus Ostrom, have released two albums in the United States: their latest, A Strange Place for Snow, and 2001's Somewhere Else Before, a compilation of highlights from two earlier European releases. Throughout both albums, Svensson expertly leads the group through seamless changes in tone and tempo from bluesy modality ("The Message" on Strange), to funky ("Dodge the Dodo" on Somewhere Else), to evocative ethereality ("Serenade for the Renegade" and "Carcrash" on Strange, the title track on Somewhere Else), to hyperactivity (Strange's "When God Created the Coffeebreak") and even a little techno (Somewhere Else's "The Wraith"). Groups like E.S.T. help stretch Jazz beyond the stuffy traditionalism that is choking off the American Jazz scene. When I saw them perform in Munich earlier this year, they enveloped themselves in a smoke machine's dry ice fog (a first for me at an acoustic jazz concert). But they have enough ties to the past to make for a comfortable transition for those who want to give their copies of Blue Train and Waltz for Debbie a rest, and enough innovation and energy to help move Jazz into the 21st century.