Pete C

He penned the title tune, and to my ears it sounds like early Sun Ra.

I'll try a non-flippant response (actually rare for me). First, we have the issue of standard vs. jazz standard. Jazz standard is an easier proposition. It would be a composition by a jazz musician that has gained wide acceptance by other musicians: A Train, Maiden Voyage, Giant Steps, Ornithology, etc. Plain-vanilla "standards" are generally songs from the "Great American Songbook," the work of theatre composers like Gershwin, Porter, Rodgers, etc., Tin Pan Alley tunesmiths like Walter Donaldson, and film composers like Victor Young, Harry Warren, & Bronislaw Kaper. Often the term standard is used to denote any tune by these writers when played by jazz musicians, regardless of how widely played they are. So you can even have the concept of an "obscure standard."

I'm torn by the possibility of a disappointing performance of some of my favorite music in the history of the world.

Betty Roche was quite underrated. Her two Prestige albums are excellent. Humes was great with Basie, greater in her late-50s comeback, and arguably even greater in her final 1970s comeback (when I saw her at Barney Josephson's Cookery). Too bad her great Columbia album "Talk of the Town" (1975) never made it to disc.

"Sounds of the Inner City," released as co-led by Booker Ervin & Booker little is actually a Charles date. Edit: oh, I see it's been mentioned. I was unaware of the Fresh Sounds release. I can recommend the music wholeheartedly. This stuff is brilliant third-streamy early avant:

You have to hear Stellar Regions. It's brilliant, and much more focused, IMO, than most of the post-classic-quartet Trane. I love Pharoah, but I can't get into most of the Pharoah/Trane combination. I do wish the Olatunji Concert was in good sound. The percussion thing that's going on in Ogunde suggests a whole other compelling Afro-Caribbean meets energy direction (though one that was toyed with in Kulu Se Mama). I just can't handle the later versions of MFT.

Unfortunately, Bey had to sing some pretty corny lyrics.

Very possibly my least favorite Trane album.

Unfortunately, cramped is the standard in NY.

If Leonard can still castrate, more power to him.

Which location? The original Lincoln Center club was awful. The new place is much better. The Jazz Standard is much more low key, and they serve decent bbq. By the way Agent, the Vanguard big band is extremely excellent. The Sunday brunch at Iridium is a really good deal. For 20 bucks you get a pretty good buffet and Bob Dorough. http://www.iridiumjazzclub.com/sundaybrunch.shtml

The Blue Note is very claustrophobic. I was once at a table where 3 people had to get up to let me out of my seat. The sightlines are pretty good, you're right. Get there before 7:30 for best choice of seats. If they're not sold out for the second show they may let you stay for a second set for just a minimum, but with Silver it might sell out. A weeknight is your best bet. If you have enough days in NY, and if you have any interest in avant, this is an interesting program on 4/28 at Makor: Beyond Jazz Sarah Wilson / Sylvie Courvoisier’s Abaton / Susie Ibarra / Mark Dresser Duo Sarah Wilson, 7:30pm Composer-trumpeter Wilson writes unique, fresh, complex music for her all-star jazz quintet. She’s a musician's musician, attracting the top downtown jazz musicians with her original approach to composition. Sylvie Courvoisier's Abaton, 8:30pm Swiss pianist Sylvie Courvoisier's music combines cleverly composed construction and improvisational freedom—a strong and unmistakably personal mixture of expressionistic, minimalistic polyphonic and modern jazz languages. Abaton features Erik Friedlander (cello) and Mark Feldman (violin). Susie Ibarra / Mark Dresser Duo, 9:30pm A percussionist and composer of experimental and avant-garde music, Ibarra leads multiple groups of her own and has collaborated with John Zorn, Derek Bailey, William Parker, Dave Douglas, Wadada Leo Smith and Yuka Honda. Tonight she is joined by master bassist Mark Dresser. Date & Time: Wed, Apr 28, 2004, 7:30pm Location: Steinhardt Building, 35 West 67th Street Price: $12.00

Be advised that the Blue Note sucks and is very expensive. And don't even think of eating there if you go. If you're going to be around on a Thursday you should try to catch the Mingus Big Band at Fez.

No dress codes, though I suspect footwear is appreciated. Do clubs in Toronto have such a thing?

I never trust assertions on bulletin boards from people who don't bother with the basic courtesies of communication like spelling, punctuation, proofreading, etc. It seems to be an epidemic. I suspect the perpetrators are, in general, fairly young, and think their style is "hip."

I collect jazz BBS posters. I have a collection of shrunken heads. You may have wondered whatever happened to some names from the past. Now you know.

Absoulutely. Eddie Harris's "Exodus" was a hit single, but I don't know if it made top 40. Hugh Masakela's "Grazin' in the Grass" certainly did. But by crossing over do we mean changing general direction, as with Benson & Cole, or just having jazz hits? I think it's a different thing with singers, but sarah Vaughan & Dinah Washington were always simultaneously doing jazz and pop sides.

But listen to the airchecks with Tadd Dameron at the Royal Roost in 1949--and you hear a preview of things to come, as you do on occasional other early dates--the original "Milestones" with Bird on tenor, and his solo on "Out of Nowhere" with Bird at the Roost.

As stated above, it varies. Sometimes there were different takes, sometimes edits (like the single version of "Girl From Ipanema" which removes Joao's Portuguese chorus), and sometimes tracks specifically released as singles (you can find these, for instance, on expanded versions of Verve albums on CD, especially by singers like Anita O'day and Dinah Washington). Also, after microgroove was introduced in the early 50s, some companies released singles in both 78 & 45--and don't forget that the term "album" comes from the actual album binders that multiple, related 78s--and later, for a while, 45s were packaged in. The 55 bar in NY has a great jukebox full of old jazz singles, as did the defunct Lion's Head next door. There were occasional instrumental jazz top 40 singles. When I was a kid, Cannonball's Mercy Mercy got a lot of AM radio play.

There's a great double bill at Tonic this Wednesday: 8pm Fred Anderson Trio $12 With Fred Anderson (sax), Chad Taylor (drums) & Paul Steinbeck (bass). A rare NY appearance by this long-standing Chicago free jazz institution. 10pm Kevin Norton's $10 With John Lindberg (bass), Tony Malaby (tenor sax), Kevin Norton (drums) & Dave Ballou (trumpet). (They rarely clear the house on a weeknight between sets) And one in May at the 55 Bar I'm looking forward to: Friday May 28 Dave Liebman - Ellery Eskelin Quartet Late Show Dave Liebman - Saxes, Ellery Eskelin - Tenor Sax, Tony Marino - Bass, Jim Black - Drums And a couple of nice lineups coming up in the CBGB Sunday night series: april 18 jessica jones eddie gale gene ess dave scott april 25 lou grassi andrew rathbun billy mintz two bass band

BFrank, too damn bad the Charles Tolliver big band doesn't have a gig while you're here. If I remember correctly you're a major Tolliver fan.

BFrank, this ain't jazz, but I'm aiming for this show in my neighborhood (@ Barbes) Fri 04/30 The return of JOHNNY STAATS AND ROBERT SHAFER celebrating both Barbes' 2d anniversary and the release of their long awaited new cd "pickin up steam" Johnny Staats is a virtuoso mandolinist who gained national attention by securing a recording contract with a major Nashville label while refusing to give up his job as a UPS driver. He was featured in the New York Times, The Today Show and CNN. Despite the potential pitfalls of such publicity, The West Virginian driver has managed to earn high praise and critical acclaim and has since gone on to play the international Bluegrass circuit - but still holds on to his day gig in West Virginia. Robert Shafer also hails from West Virginia. He is a two times National Flatpicking Champion, has performed with Mark O'Connor and Vassar Clements and has appeared as a featured artist on NPR's Mountain Stage. $10 7:30pm & 9:30pm

John Handy 1965 quintet reunion, July, Iridium.

Bey was good with Silver & Bartz in the 70s, but he's in an entirely different category now. Back then he was pretty much a belter, relying mainly on the resonant deep end of his amazing baritone. Then he left the scene for a number of years and returned as one of the most profound male vocalists in the history of jazz. He developed the upper end of his range and became a consummate ballad singer. His taste, subtlety, fluidity & emotional honesty have rarely been rivaled.