One reason I like Jack Kleinsinger's Highlights in Jazz concerts in NYC is because in that audience I feel young again. I think most of the subscribers were old 39 years ago when Jack started the series.
Isn't "Au Privave" Granz's or a Granz employee's phonetic misspelling of the song Charlie Parker said (out loud) he titled "Apres Vous"?
It's called Apres Vous on this album:
That German stab at Klactoveedsedstene sounds outlandish. I'm pretty sure it's just bebop onomatopoeia.
I certainly agree about the relative merits of Lateef and Lloyd at the time they were with Cannonball. Lateef was already a mature player with a track record and was, IMO, of equal stature to Cannonball. But I actually do like much of the Fiddler album. The rhythm section is really tight, and Nat is particularly good on much of it.
From: Francis Davis, (1986). In the moment: jazz in the 1980s. New York, Oxford University Press, page 47
http://wallofsound.wordpress.com/2007/06/19/misunderstanding-%E2%80%98flowers-for-albert%E2%80%99/
To ban all reference to the historical use of the term, within and outside black communities, would be taking PC to a ridiculous extreme. It's also my understanding that the term had at least at much currency within black culture as outside it.
I can't imagine there'd be that many left. If Dusty Groove buys I'd say just go for credit with them, since it's a great business, or list them here.
Now it's time for Pete D to check in...
IIRC, dedicated to someone called Teddy Bloom, but a blues, so not on the changes of "Perdido", despite the name.
Bird's manager, whose name was actually spelled Blume.
In 1965 my older brother took me to a Shindig revue at the Academy of Music. The Dixie Cups, The Dovells, Steve Alaimo, and, in his public singing debut, Rosey Grier.
Or bandS. Cannonball obviously had a strong enough sense of self to hire tenor/flute players like Lateef and Lloyd who could potentially upstage him. For me, Lateef is the highlight of the Jazz Icons DVD.