Pete B

Jonah Jones.

Prices include US postage. I will ship to other countries at actual cost - no "handling" charge. Paypal, checks, money orders. Everything is in excellent condition. Thanks for looking. Private Collection Vol. 7: Studio sessions 1957 and 1962 $5 Duke Ellington Private Collection Volume 1-5 (boxed set) Box shows light wear. Volume One - Studio Sessions Chicago 1956. Volume Two - Dance Concerts California 1958. Volume Three - Studio Sessions New York 1962. Volume 4 - Studio Sessions New York 1963. Volume 5 - The Suites New York 1968 & 1970. $25 SOLD Duke Ellington Masters of Jazz Vol 4 1928 still sealed (bought a dupe by mistake) $12 Duke Ellington Live in the Big Apple (actually Musicraft studio sessions 1946-47 - pretty nice) $4 SOLD

Hi A few vinyls for sale. $2.50 each, buy 4 and take a 5th one free. US Postage a flat $3 for media mail. Will combine this with my $5 lps if you want to buy from both lists. To other countries at actual cost - no charge for packaging. Paypal, or mail me a check. Please email me - I'm lax about checking PMs. bainbridge@dejazzd.com thanks for looking: ARTIST TITLE LABEL CONDITION (VINYL/COVER) COMMENTS "Byers, Billy" Impressions of Duke Ellington Wing SRW 16397 VG+/VG+ hole punch "Ellington, Duke" Archive of Jazz BYG 529081 VG+/VG+ 1950 material-great! "Ellington, Duke" Works of Duke Vol 23 RCA PM 42415 VG+/VG+ 1946 "Ferguson, Maynard" New Vintage Columbia 34971 VG+/VG+ hole punch "Garner, Erroll" The Greatest Garner Atlantic KSD 1227 VG+/VG+ Canadian "Gillespie, Dizzy" In the Beginning Prestige P-24030 VG+/VG+ 2-lp. 1945-1950 "Hackett, Bobby" Live at the Roosevelt Grill Chiarascuro 105 VG+/VG+ "Hamilton,Jimmy" and his Orchestra Jazz Kings 1204 VG+/VG+ Urania material "Hampton, Lionel" The Best Of MCA 2-4075 VG+/VG+ 2-lp. Light scratch on 1 side "Hawkins, Coleman" and the Trumpet Kings Emarcy SRE66011 VG+/VG+ 1944 material "Hawkins, Coleman" Live at the London House Fanfare lp33133 VG+/VG+ 1963 Hawkins-Getz-Byas same I Giganti Del Jazz 10 VG+/VG+ rare live cuts "Newman, Joe" At Count Basie's Trip TLP-5546 VG+/VG+ hole punch "Norvo, Red" Mainstream Jazz Continental CLP-1605 VG/VG+ 40s material "Peterson, Oscar" Canadiana Suite Limelight MIJ-1-525 VG+/VG+ "Peterson, Oscar" Night Train Verve V6-8538 VG/VG "Shank, Bud & Cooper, Bob" Flute 'n Oboe Pacific Jazz PJ 1226 G/G hole-filler "Webb, Chick" King of the Savoy V 2 1937-1939 Decca DL 79223 VG+/VG+ 2-lp

Hi A few vinyls for sale. $5 each, buy 4 and take a 5th one free. US Postage a flat $3 for media mail. To other countries at actual cost - no charge for packaging. Paypal, or mail me a check. Please email me - I'm lax about checking PMs. bainbridge@dejazzd.com thanks for looking: ARTIST TITLE LABEL GRADE (VINYL/COVER) REMARKS "Breau, Lenny" Five O'Clock Bells Adelphi AD 5006 VG+/VG+ "Faddis, Jon" Legacy Concord CJ-291 sealed "Gordon, Dexter" Ca'Purange Prestige 10051 VG+/VG+ "Gordon, Dexter" Resurgence Prestige MPP-2511 VG+/VG+ cut corner "Hawes, Hampton" Playin' in the Yard Prestige P-10077 VG+/VG ringwear on front "Herman, Woody" " One Night Stand Feb 8, 1946" Joyce LP-1065 VG+/VG+ "Herman, Woody" One Night Stand (1945-1946) Joyce LP-1021 VG+/VG+ "Herman, Woody" One Night Stand Dec 1945 Joyce LP-1099 VG+/VG+ hole punch "Herman, Woody" One Night Stand Aug 12 1944 + 1952 Joyce LP-1047 VG+/VG+ "Herman, Woody" Together Flip and Woody Century CR-1090 VG+/VG+ "Mulligan, Gerry" Historically Speaking Prestige PR7251 VG+/VG+ "Peterson, Oscar" Tracks - Solo Piano Verve/MPS 821-849-1 VG+/VG+ "Richards, Johnny" Experiments in Sound Capitol T-981 VG+/VG "top seam split 4""" "Rumsey, Howard" Lighthouse All Stars Vol 3 OJC-266 sealed hole punch "Smith, Jimmy" Rockin' the Boat Blue Note ST-84141 VG+/VG+ Liberty "Webster, Ben" The Horn Circle sealed (great 1944 session) "Williams, Richard" New Horn in Town Barnaby/Candid BR-5014 sealed hole punch

I've been collection Pettiford for years and I've never seen a copy of this title offered on cd. To my knowledge it was only issued on vinyl. There is no listing for a cd version in this excellent online Oscar Pettiford Discography

This is long overdue. I have these on Japanese vinyls - but they were not issued in session order. It will be nice to see them get the Mosaic treatment. Would love to see the Limelight material reissued as well - excepting "It You Can't Beat Them, Join Them" - a dreadful album which I view as an anomaly in Mulligan's otherwise stellar career.

These recordings have circulated among collectors for years. A couple of older friends lent their cassettes to me and I digitized a lot of these things. I shared them on one of the trading sites, and then later on www.dimeadozen.org. This is what I have on the Norfolk date: THE CLIFFORD BROWN – MAX ROACH QUINTET NORFOLK, VA – JUNE 1956 Clifford Brown – trumpet Sonny Rollins – tenor sax Richie Powell – piano George Morrow – bass Max Roach – drums 1. Introduction 2. Just One of Those Things 3. You Go To My Head 4. One For My Baby 5. Someone to Watch Over Me 6. What’s New 7. These Foolish Things 8. I Get a Kick Out of You The presence of Dolphy in the early material has also been questioned. My ears aren't good enough to tell, and IMO the material is not worth repeated listening. Dusty Groove seems to have engaged in their usual puffery in their description. I don't know what is on the commercial issue. This is what I have in my collection: DISK 2 1. Unknown title 15:18 2. Fine And Dandy 22:20 3. Wahoo 9:37 4. Crazeology 12:28 5. Old Folks 2:27 6. Deception (Conception?) 13:42 Clifford Brown (tp - 1, 2, 3, 6; p -5), Eric Dolphy (as - 5. 6), Harold Land (ts), Richie Powell (p), George Morrow (b), Max Roach (d); Eric Dolphy's garage/studio, Los Angeles, c. June 1954 DISK 3 1. Unknown title (same as disk 3, track 1) 11:41 2. Deception (Conception?) 3:12 Same personnel/performances as Disk 2 This discographical information was compiled by someone else who used the recently published Clifford Brown discography by Bob Weir, which I have not seen. The sound on the Norfolk date is (just) acceptable. It was a good night for the quintet. The sound on the Newport date is better: CLIFFORD BROWN-MAX ROACH QUINTET NEWPORT JAZZ FESTIVAL, 16 JULY 1955 Clifford Brown – trumpet Harold Land – tenor saxophone Richie Powell – piano George Morrow – bass Max Roach – drums 1. Announcement 2. Daahoud 3. Ghost of a Chance 4. Jacqui 5. I Get a Kick Out of You I do not know how these setlists compare to the commercial issues. I know that most, if not all, of this material was at one time available on Philology. I find that now that I'm done organizing it I rarely listen to it. If I want to hear Brownie, I usually reach for my Emarcy box.

An interesting review by Doug Ramsey here . I had not planned to buy this, but he has just about sold me: Bill Evans: Always On Sunday Bill Evans died twenty five years ago today. To borrow what Robert Benchley said when he heard of George Gershwin’s death, I don’t have to believe if I don’t want to. His music is here through dozens of recordings, but his presence goes beyond aural artifacts. Evans is part of jazz today because he is woven into the concept of nearly every pianist who followed him, and of many who were established when he became an important player in the second half of the 1950s. Indeed, his influence extends beyond pianists to players of virtually every melody instrument; listen, as an example, to the trumpeter Tom Harrell. Hearing the new Riverside box set of the Bill Evans Trio at the Village Vanguard in 1961, it is easy to imagine that he is still with us. So he is, in a demonstrable way, because he, bassist Scott LaFaro and drummer Paul Motian changed the concept of the piano trio from that of a soloist accompanied by bass and drums to that of three musicians who breathe, think and function as one. Among important jazz trios in the twenty first century, adaptations of the Evans approach to performance are the rule, not the exception. In addition, LaFaro had the greatest impact of anyone since Jimmy Blanton in Duke Ellington’s band of the early 1940s, on the way bass players use their instrument. He was not only a phenomenal master of the technical aspects of playing the double bass, he was also gifted—quite likely a genius, as was Evans—in matters of harmonic choices, melodic construction and rhythmic placement. It is an unintended consequence of LaFaro’s pervasive influence that regiments of young bassists imitate his ability to play high and fast, but most do not or cannot begin to approximate his lyricism, beauty and timing ,or the depth of his tone, which Evans likened to the sound of an organ. New bassists—not all, but many—emulate the technique they hear from LaFaro on the Evans recordings without understanding how it fits into the complex relationship among Evans, LaFaro and Motian and, particularly, how his note choices relate to the impressionistic chord voicings that give Evans’s playing so much of its character. Worse, they overlook at least half of what made him a great bassist, the power of his straight-ahead swing. For all of Evans’s legend as an introspective, withdrawn musician, his playing had muscle and grit, and there is plenty of swing in the Vanguard recordings. Originally issued on a forty-one-minute LP, they helped to expand the reputation he made as a New York session musician, occasional leader and Miles Davis sideman. For the next nineteen years, he built his career in great part on the foundation of the trio with LaFaro and Motian and on the Vanguard sessions. In the years since Evans died in 1980, Fantasy, Inc. has reissued that album many times in several formats. The initially released tracks, and almost everything else recorded at the Vanguard on June 25, 1961 are in the huge Bill Evans: Complete Riverside Recordings box. The new three-CD box has only one “new” track, a previously unissued take of LaFaro’s composition “Gloria’s step,” slightly marred by a brief dropout resulting from a power failure. The set is the most complete possible account of an amazing afternoon’s and night’s work by the Evans trio, two-and-a-half hours of music. Quantity is not, however, what renders the set compelling. Nor is it the fact that the performances are in their proper sequence; that is true in the big Riverside Evans box. In that collection, however, they begin and end, unavoidably but annoyingly, in the middle of CDs. Here, they begin at the beginning of the first CD and conclude at the end of the third. No, it is the intensity and joy of the music itself, and the sense of occasion, that have kept people going back to these performances for four decades. The recordings are remastered so that listening to them, preferably with closed eyes and a glass of something good at hand, we are as near as possible to being with Evans, LaFaro and Motian in that little wedge of a club beneath Seventh Avenue South in New York. Through expanded intervals between numbers, chatter of the audience is now a greater part of the ambience. We hear snippets of discussion among the musicians about repertoire choices, and we hear their occasional reactions to one another’s playing. Orrin Keepnews, who produced the original sessions, was not involved in preparing the new reissue, but wrote liner notes for the package. In the essay, he admits to initial skepticism about the idea of yet another release, but says that his doubts were erased when he heard the results. When I knew the box was on the way, I had about decided that it would be redudant. It is not. I have had it playing for days. I am making room for it on my Bill Evans shelf. Adam Gopnik of The New Yorker wrote of Evans’s playing in these recordings, “They are as close to pure emotion, produced without impediments - not at all the same thing as an entire self poured out without inhibitions, the bebop dream - as exists in music.” This is a good day to read “That Sunday,” Gopnik’s 2001 account of the Evans Vanguard sessions on the occasion of their fortieth anniversary. It is a good day to remember one of our greatest musicians.

I just bought a Goldring GR-1.2 from Audio Advisor for $300 shipped and I've been very pleased with it. It was a huge upgrade on my old 1979 model Dual. A very simple design - they claim the lack of bells and whistles allowed them to put more value in the motor and tonearm.

I have only 130 so many discs, so little time................

Clifford Brown.

Yeah, really. This one and Talkbass are the only two I allow myself. Gotta have time to practice, right?

On my brand new Goldring GR 1.2 turntable: Lou Levy - The Kid's Got Ears.

Check this out:thread on Talkbass

I had the good fortune to preview a part of this release last night. A friend got a copy from a friend who got it from T S Monk. He couldn't give me a copy, but I got to hear it. It's brilliant. There is a superb interplay between Monk and Trane, and Shadow Wilson is a treat. The sound is excellent.

I have "The Complete Living Room Tapes" which I find amazing and enjoyable. Some rather impromptu live performances showing off some astounding technique and a wealth of interesting ideas. I strongly dislike his singing though I also picked up an old vinyl of Five O'Clock Bells that I like a lot. My friend Paul Kohler, who owns Art of Life Records is a devotee of Breau. He has told me it is his desire to make every possible bit of Breau's recordings available to the public.

The new Art of Life cd is not the same as the Embers cd. It is four sets of transcriptions done by the BBC for broadcast in Spain, all from 1965. The material was recently released, in inferior form, on Harkit, but that release has been withdrawn because it was unauthorized. I just received my copy yesterday, and it is outstanding. Paul did an amazing job with the remastering, and the package is excellent, with unpublished photographs and a 12 page essay by Richard Hyla.

I scored the Dexter Prestige box today on Amazon for $77. I only have a little bit of the material, and that on vinyl, so I'm really looking forward to hearing it.

Don't forget the new set of BBC Transcriptions from Art of Life Records One of my friends has heard some of them and he tells me they are outstanding. Paul tells me he expects to have them in stock in a couple of weeks.

I vote for the late lamented Masters of Jazz. Has anyone ever done Ellington better? And their treatment of early Charlie Parker and Dizzy Gillespie is equally fine.

So were Newman's recordings strictly from Mintons, 1941? I don't really know much about him. It could be these are all from Rosenkranz. The same tape had some Erroll Garner material that I left out of the torrent since I believe it is in print. Regardless, it is some wonderful stuff isn't it? I'm glad to share it.

Hi Anatol As you know, I'm the guy who uploaded these. They are from my same sources, with which you are familiar. I can't vouch for the discographical information, I have only repeated the information provided on the tapes when I had access to them. What do you think of the guess that the early club recordings might be from Jerry Newman's collection? Or is 1944 too late for him? For some reason they remind me of the material on "Midnight at Minton's" on the old Onyx label. Of course, I'm sure you're familiar with the Timme Rosenkrantz material from releases of Erroll Garner and Stuff Smith. Wouldn't a comprehensive treatment of that collection be a treat? Pete

His Verves would be a natural. 6 titles, I think: Gloomy Sunday Modernity of BB The Blues Hot and Cold 7xWilder Samba Para Dos Trombone Jazz Samba Only Gloomy Sunday has been on cd before.

Paul is guessing around July 15.

From the Art of Life Records The Tubby Hayes Quartet "Commonwealth Blues" (Art of Life AL1016-2) Tubby Hayes: Tenor Saxophone, Flute, Vibes Gordon Beck: Piano Johnny Butts: Drums Jeff Clyne: Acoustic Bass The Tubby Hayes Quartet-"Commonwealth Blues" CD $15.99 All 20 tracks are previously unreleased. Recorded in the summer of 1965 at Kensington Studios in London, England by the BBC and subsequently sent to Spanish radio stations as Radio Transcription discs to be broadcast only on Spanish radio in the late 1960's. These previously unreleased studio recordings feature pianist Gordon Beck, drummer Johnny Butts and bassist Jeff Clyne. The Tubby Hayes Quartet is presented in a series of four seperate programmes designed to showcase Tubby's unprecedented talents on tenor saxophone, flute and vibes. Each of the four programmes begins and ends with the theme, Tubby's Blues, a song later retitled by Tubby as Commonwealth Blues. Art of Life Records, along with the assistance of Gordon Beck, has obtained the licensing rights from the British Broadcasting Corporation to make these recordings commercially available for the first time!! The CD comes with a 16-page booklet containing 12-pages of detailed and insightful liner notes which includes a historical overview of Tubby Hayes' recording career as well as how this classic British Jazz recording came to be. A must have recording for all Tubby Hayes fans as well as fans of British Jazz!! All tracks have been digitally mastered using 24-bit digital technology. I know the guy who owns/runs Art of Life. He is a fan/collector of Tubby Hayes and he knows his stuff. I'm confident this will be a first-class reissue. I haven't heard these yet but he tells me that they are top-notch, both in sound and performance. I have no financial interest in this - I'll buy my copy just like everybody else - but I know the trouble and expense that Paul has gone through to bring this thing to fruition and I hope he sells a boatload of them!. Pete