paul secor

Play it again, couw.

Is this a kinder, gentler Chuck we're seeing?

Blues Records 1943 - 1970 (Leadbitter/Fancourt/Pelletier) gives the same date - Nov. 7, 1949 - but lists the session as being held in New York City. It also places a ? after John Coltrane's name. I don't know which source is correct - just posting what I found.

Larry - I ordered my copy from a local independent bookstore owned by a friend. He's carried your book since then - hope that he's sold a few copies. I'll have to ask him and see.

I've only heard one of his recordings. It would be a good thing if the rest were reissued, but if not, that one is still a pleasure. Thanks for all you gave, Mr. Levitt.

Clifford Jordan & John Gilmore: Blowing In from Chicago

Thanks. Have the D.C. stuff.

That may be the greatest album cover ever. Not quite the Nairobi Trio, but close.

Does anyone here have the Lester Young Verve Box? (Probably a very dumb question to ask.) Anyway, I have close to half of this material on LP or CD, and I'm wondering if it's worth picking up the box for what I don't have. What I have is Lester Young - Buddy Rich Trio (w. Nat Cole), Pres (recordings w. John Lewis), Lester Young w. the Oscar Peterson Trio, Jazz Giants '56, Laughin' To Keep from Cryin', and some scattered JATP sides. Any opinions on whether the box is worth it? Or am I just looking to spend money?

$150? Unless it's fantastic, I'll just continue to listen to the recordings.

Ornette Coleman - Charlie Haden: Soapsuds, Soapsuds

Just finished reading Antoine de Baecque's and Serge Toubiana's exhaustive (though not exhausting) biography of Francois Truffaut, Truffaut.

Hank Mobley Quintet Featuring Sonny Clark

There won't be - at least not done by DuNann. According to an article in Stereophile a few years ago, he's lost much of his hearing. No snide comments about RVG, please.

The Kerouac scroll on which he typed On The Road is currently on display at one of the museums here in Santa Fe. It's part of a fascinating exhibit which includes books, music, photos, videos, etc.. I believe a 50th anniversary edition of On The Road will be published this year. Didn't Jim Irsay, the owner of the Indianapolis Colts buy the On the Road scroll several years ago?

I've said what I have to say about the Michael Cuscuna quote - where I stand on that is where I stand. I can ask myself, but I think that it would be pretty presumptuous for me to decide who is "equipped" to create a body of work. I will say to my ears, Byron Allen could play. I bought his ESP recording 42 years ago and it still speaks to me today. And I didn't realize that creating a body of work was a prerequisite to playing, or that a musician had to create a body of work before listeners could appreciate, enjoy, or love their music.

Larry Young: Into Somethin'

Just a thought - I'd like to see some of the musicians on Board do more threads like this. You guys can have some fun and share musical info amongst yourselves and we non-musicians end up learning something too. edit- Maybe I should check the Musician's Forum more often. For all I know, some of this may go on there.

That series found its way to the U.S. I bought a number of them at the 4th St. Tower in the 80's - the only way that music was available here then.

Had the pleasure of hearing him play live once - great night! Thanks for the music that evening, Mr. Bell. You played some fine harp.

Jim - You make a good defense of Michael Cuscuna the producer/reissuer. I too appreciate what he's done with Mosaic, Arista Freedom, Impulse, etc. But - let's just look at the words he wrote: QUOTE ...Sam and Bea opened a performance space within their loft which they called Studio Rivbea. The emotional excesses of the sixties had subsided. The influx of creative technically proficient musicians from Chicago, St. Louis and Detroit shoved a lot of the screaming pretenders off the scene. Freedom was no longer equated with anger and lack of musicianship. Studio Rivbea became an incubator for a lot of serious, new developments in experimental jazz and the forerunner of an alternate way of presenting music in New York. The man used a number of inflammatory and mean spirited phases and sentences to make implications about a group of musicians without naming any names. Where I come from, that's called using smear tactics. I might add that you don't have to slam one group of musicians in order to pimp another group of musicians. Jim, I don't recall you ever having done that in your posts - generally if you don't have something positive to say about a musician, you don't say anything - and I don't see why you give Michael Cuscuna a free pass to do it. Probably this whole thing is going "waaay overboard", as you put it. You see what he wrote as sloppy writing, and I see it another way. I do hope that we can agree to disagree. In the end, only Michael Cuscuna knows what he intended. I'll end my part of this here. I do appreciate what Michael Cuscuna has done for the music over the years, and I've perhaps overreacted to one paragraph that he wrote. I have a tendency to do that when I feel that a person or a group of people have been treated unfairly - part of my nature.

I used to order records from Dan Serro 25 - 30 years ago. He was always a decent guy to do business with.

Over the top and tres cool! Thank you, sir!