Mark Stryker

Don't think the Juilliard String Quartet's early 1960s LPs on RCA of Beethoven's Op. 131 (frenzied intensity) or the compelling performances of the Ravel/Debussy quartets have made it to CD. Also, Air's "80 Degrees below 82," Jimmy Heath's "Picture of Heath" and Henry Threadgill's "When Was That?"

An email from a friend prompts this question: What are the greatest records to never make it to CD? (If there's a previous thread on this topic I apologize -- I looked but didn't see one.) My buddy suggests "Big George" (Affinity) by the George Coleman Octet -- a great one to be sure.

Hefty story in today's paper about Detroit-born drummer Karriem Riggins, a special musician with significant profiles in jazz and hip-hop. Nice portrait photo at top of page, too. http://www.freep.com/article/20130120/ENT04/301200061/Detroit-drummer-Karriem-Riggins-makes-his-mark-in-jazz-hip-hop

A little more show biz here but still ... (probably 1967/68) The "Choreography" tune was Danny Kaye's number in "White Christmas"

Arrangement by Marty Paich -- that's Mel Lewis on drums (1960) Duet with Mundell Lowe (1958) http://www.youtube.com/watch?v=0hm_XkKUGxU

Very complicated subject, but what we think of as his clowndown really comes into force after 1970. Much different before that, though there are aspects. But, as Jim says, the skills were really deep. I mean REALLY DEEP. What he did with them and the reasons why, including the identity issues, personal demons, cultural baggage, race and are irrelevant questions. But, again, skills. Sure at his worst, it's awful and clownish. But at its best: greatness. Dig:

Here's something of a related clip. I put this up on Facebook a couple of weeks ago but don't think I posted here -- if so, I apologize. But my point is that they really don't make TV shows like they used to, that Sammy Davis was remarkable, that the studio work like this that used to support musicians has basically all disappeared. The band on the following clip just plays the shit out of this number. The joke here, which is perhaps lost to the shifting sands of cultural history, is that Sammy Davis Jr. was slumming. "Hullabaloo," which featured the pop music of the day and was aimed at a young demo, had a different guest host each week, usually a Frankie Avalon or Paul Anka type. Contemporary audiences would have seen Davis as a curio in this context: The opening bit, with him doing all the au currant dances accompanied by music that shifts between his own idiom (swing) and the rock 'n' roll beat of the day, reinforces the disconnect, while casting Davis in the role of the unusually hip uncle. Having said that, he sings and dances the hell out of the number --amazing talent. When his taste antannae were engaged, especially in the '60s, he was a force -- he could swing, sing a ballad, hoof, impressions, play drums, vibes, trumpet, piano, good comedic actor. Born to show business. Coda 1: The male Asian dancer is Patrick Adiarte, who later played Ho-Jon in the early episodes of "Mash." Coda 2: Other dancers on the show include Michael Bennett and Donna McKechnie, who both had major Broadway careers, especially Bennett who choreographed and directed "A Chorus Line," etc. McKechnie won a Tony as "Cassie" in "A Chorus Line" and apparently also appeared on "Dark Shadows," which I never watched because it scared the shit out of me when I was 7. Pretty sure the other male dancer here is Bennett, but I am not gay enough to be able to identify McKechnie. (Hold your letters -- it's a joke.) Coda 3: "Hullabaloo" was on in 65-66, NBC's answer to ABC's "Shinding!" where one of the dancer, btw, was a young Teri Garr. Coda 4: The number, of course, is "This Could Be the Start of Something Big," which Steve Allen wrote, though the lyrics here were new for the show. Coda 5: Jesus Christ, the Internet is a time suck.

That's not Pepper. Might indeed be Ernie Royal. The others I don't know. Definitely the Elliott Lawernce Orchestra.

You sure that's Mel? I thought it was a very young Eddie Daniels too, but Bill Kirchner said he didn't think so. Cliff Heather is playing bass trombone. Wayne Andre is also in the trombone section.

Dig the well-known soloist at 2:05 mark. Also, lead trumpet appears to clam a couple times, which evokes some smiles from the podium. I won't identify any of the players to make it more fun.

Speaking of abstract trumpet players, in the first magazine story about Thad Jones in Down Beat in November 1955, Thad mentions KD in the list of trumpeters he admires. The quote is kinda funny: "Kenny has changed his style. He used to often just play technique, He plays some weird things."

Have always retained a soft spot for Tchaikovsky's Serenade for Strings in C Major, Op. 48. It's all about the melody! The popular 2nd movement waltz especially ...

Hmm. I think the identifcation of the bassist as Alvin Jackson on the "Zec" session is a mistake. It's Beans Richardson. The other four sides you reference (Rockaway, Rainy Day, etc. ) appear to be vocals by Jackie Wilson (the label says Sonny Wilson Sings/Billy Mitchell Plays). I found one on youtube. Don't know these records and haven't seen personnel listed in a discography. Are there are any horn solos that allow identification? Will run this by Jim Gallert ...

Does anyone know of a current (of most recent) reissue of the four-tunes that the Billy Mitchell Quintet recorded for Dee Gee Records in Detroit in the early '50s? The tunes are "Zec," "Alone Together," "Compulsory" and "Blue Room." This was the famous house band at the Blue Bird Inn with Mitchell, Thad Jones, Terry Pollard, James (Beans) Richardson and Elvin Jones. Discographies often say this material was taped in 1948 but that's wrong. The band didn't come together until fall 1952, lasting in this particular configuration until August 1953 when Pollard left to join Terry Gibbs and was replaced at the Blue Bird by Tommy Flanagan. (In Bjorn and Gallert's "Before Motown" they note that an article in the local black press in October '53 announced the upcoming release.) It was likely recorded in late summer 53. Dee Gee issued a 4-tune EP. Savoy later reissued the material on a compilation LP titled "Swing Not Spring." Were there any subsequent reissues on LP? "Before Motown" says the session was available on a Japanese CD but doesn't give a title. Thanks in advance.

Jackie McLean did, in fact, do jail time. Some six months in 1964 as I recall. Think it was related to a failed appeal from an earlier offense.

Here's an interesting one that Bill Kirchner hipped me to during a conversation yesterday about Thad Jones. "Tea for the Two" from the Ella and Basie album circ 1964/65. Q is credited with the arrangments, but this one screams Thad -- the first 8-bar ensemble after the vocal would seem to be a big giveway -- angular bite to the melody and rhythm, crunch in the brass voicings, descending harmony. That's gotta be Thad

"Jazz and the White Americans: The Acceptance of a New Art Form" (1962)

At the heart of this discussion, at least where it starts, is the conflict over the value of improvisation vs. composition, with the classically minded composers, including jazz savvy Overton, insisting on a hierarchy that places notated music above improvisation, even as he and Calabro try to agree with Cecil that improvisation does have value. It's the bias in favor of Western (European-derived) classical music rearing its head in their inability to acknowledge that improvised music can be as emotionally and intellectually profound as Western notated music and their inability to fully grasp the cultural meaning and message of music that comes out of the African-American experience. But the conversation really turns when Cecil is accused by Calabro of being angry -- that's when he lets them have it. Unbelievable that later in the discussion Calabro can't seem to understand the inbred bias of using the term "serious music" in oposition to jazz. "You just can't help it," says CT. Coda: Cecil says at one point: "I don't talk to Lennie Tristano -- who reads the Journal American." This appears to be a dig at Tristano but I'm not sure I totally understand the reference. The Journal American was a New York daily that grew out of the Hearst empire. So, I'm guessing perhaps it had a reputation for tabloid sensationalism or political conservatism? Can anyone shed light on that particular aside by Cecil?he only thing, I don’t talk to Lennie Tristano – who reads the Journal American. The only thing, I don’t talk to Lennie Tristano – who reads the Journal American

Don't think this has been posted here before. Showed up in my Twitter feed today and thought I'd pass it along. An incomplete transcription of what must have been a fascinating discussion to witness live. http://www.mattweston.com/cecilpanel.html

http://keitholbermann.mlblogs.com/2012/11/27/marvin-miller-rip/

From a wit on Twitter: "If Keith goes, can Obama appoint a new guitarist?"

The Rolling Stones are older than the Supremes? Who woulda thunk? http://seattletimes.com/html/entertainment/2019768468_apusrollingstonessupremecourt.html

Nothing peculiar about the credit. Miles took the photo; Berg did the graphic design. You wouldn't say this is a Reid Miles cover; it's a John Berg cover in the same way that the BN's were Reid Miles covers with photography by Frank Wolff. If there's any irony, it's that particular turnabout -- that in this case it was Miles who took the picture, though he did work as a commercial photographer and while I can't put my finger on any of them at this moment, didn't he take some photos used for some BN covers?

Been listening over and over for a couple days and have to say I'm getting a lot out of it -- just about everthing I've ever gotten out of Ahmad's later work, more in some ways. A lot of drama, surprise, hitting of emotional buttons. The lack of rhythmic accuracy you perceive I mostly hear as an intentional looseness, a way of rolling over the keys to create a textural/rhythmic contrast with the groove in the bass and drums. Tension and release. Ahmad has always done this, but these days he'll stay outside the pulse for a l-o-n-g time, My biggest complaint is nothing everfalls into 4/4 swing (though it's kind of implied in the fast 6/8 on Woody N You and there is some swing feel in waltz time and hints on the ballads here and there). The grooves are heavier than in the early days but I'm not sure they're any heavier than other more recent work. Do you have a fave you're comparing this too? For me a VERY strong record, while the lack of linear invention in the improvising is a weakness for me (always has been in a way with Ahmad), I've come to really appreciate the later work a lot more in the last couple years.

Hope everyone had a great meal today. In honor of Thanksgiving, the great Stan Freberg on T-day (& elections): 1961. From "The United States of America: Volume One, The Early Years." Billy May nails the orchestration ... …