mjzee

Ask him how the 78s for Norman Granz came about. And, yes, about "Something Else": ask him whether or not it was really Miles' date.

Roscoe Mitchell - More Cutouts Nick Lowe - Pure Pop for Now People Marshall Crenshaw - Mary Jean & 9 Others Rockpile - Seconds of Pleasure John Scofield - Shinola and, of course, Chicago XIV

I use a program made by Sure Thing, called CD/DVD Labeler (it also does CD cases). Cheap, easy to use, atttractive templates built in. www.surething.com.

So I pulled out the Blue Note Discography, hoping to shed light on the engineer (it didn't), and noticed these entries on pages 532-3, in the Imperial Records section: HAROLD LAND: Carmell Jones (tp), Harold Land (ts), John Houston (p), Jimmy Bond (b), Mel Lewis (dm). 7/3/63 & 7/17/63: Kisses sweeter than wine Tom Dooley Scarlet ribbons Take this hammer Foggy, foggy dew Hava nagila On top of Old Smokey Blue tail fly All titles to be issued on the Blue Note label. Check out that last line. Something to look forward to!

How's Tal Farlow on Up Up & Away?

Maybe ask him to talk a little about his contemporaries - an open-ended question, see what he has to say. People like John Lewis, Elmo Hope, Bud Powell (did he ever meet him?), Dodo Marmarosa, Al Haig, etc.

The Blues Brothers. I walked out after about a third...somewhere within the fourth car chase/crash/pileup. Pure brain death.

Before Soundscan, the industry itself didn't have these exact figures. They could ask the store owners how sales were, but they were never connected to the sales registers. The Soundscan results surprised everyone.

The official relase date is Tuesday so that all stores will have the product to sell by the weekend (and give them time to display it, promote it, etc). Most stores receive the product sometime before the prior weekend, but to level the playing field, no store is allowed (by the manufacturer) to sell it before Tuesday. If they disobey, they could have ad dollars taken away from them.

All the posted reviews seem to be of the first of the four shows. Usually (as jazz fans know), the first set is the more laid-back and tentative; the second set is when things start to catch fire. I wonder how the other shows were; I'll bet they were a lot of fun. And I'll bet the "inevitable DVD" will draw more heavily from those shows.

Gary Burton, Larry Coryell, Steve Swallow, Bob Moses Gary Burton, Pat Metheny, Eberhard Weber, Steve Swallow, Dan Gottlieb

Sound quality's not that great. Liner notes admit that no original sources were used. I've wondered, since Cuscuna has since seemed to have found the Roost masters (witness the Sonny Stitt and Johnny Smith Mosaic boxes), he has any plans to redo the Getz box.

No, really, can someone check their LP of The Mothers' "Freak Out"? I think the dedication list is reprinted from there.

Just wondering. A few sites lists it as "unavailable" or "special order."

Me too. It's shipping today.

Took your advice, and just downloaded all 5 volumes from eMusic.

Did those dedications come from Freak Out?

Actually, I have a simple suggestion, if it can be enacted. I have no desire to look at the "Politics" section - I'm very comfortable with my viewpoint, thank you, and I think the "Politics" section helped to kill the BNBB (that, and the incessant anti-Norah Jones posts). But when I log on here, I go to "View New Posts," and the "Politics" posts are shown there along with all others. If the "Politics" posts can be screened out of that view, I'd be very happy.

Tete Montoliu was great behind Dex as well.

This is from today's Wall St Journal: A Great Night in Providence for Jazz and Snow By NAT HENTOFF March 30, 2005; Page D12 Once in a while, a jazz person has told me of an unexpected and exceptional listening experience at a jazz club somewhere. Eagerly I always ask, "Was there a tape recorder?" Almost invariably, the rueful answer is: "No." But a wondrous exception, finally released in February on the Hyena label, is "Joe Williams/Havin' a Good Time! Featuring Ben Webster." As Junior Mance, the pianist on the 1964 gig at Pio's, a club in Providence, R.I., tells the story: "In the middle of the week we were there, the city got hit with a blizzard. Enough people showed up, so Joe had to perform. When Joe and the guys got there, to their surprise, they found Ben Webster, saxophone in hand, sitting in a corner. They didn't know he was in town. Ben asked if he could sit in." What jazz leader would refuse? Mr. Webster, a large, imposing, sometimes bristling man, could swing a military band -- as he proved in his years with the nonbelligerent Duke Ellington. But on ballads he could be as tender as the memory of a first love, as he also demonstrated with Duke. Mr. Webster gave me a lifetime credo when I was quite young. Sitting with me between sets at a jazz club in Boston, he said -- after vainly trying to get a local rhythm section into a swinging groove -- "Remember, if the rhythm section ain't making it, go for yourself!" That advice has kept me going in many situations where I had to listen to my own drum to be myself. Mr. Williams became internationally acclaimed as a celebrator of the blues with Count Basie's big band; but then, on his own with a small combo, he was even more warmly, intimately compelling in small clubs. That winter in Providence, with a rhythm section that delighted Ben, both Mr. Webster and Mr. Williams showed, as Junior Mance says, "what jazz is really about. It's what happens when world-class players get together and do what cats have been doing for decades -- make magic on the spot. Thank God somebody was runnin' a tape." From "Kansas City Blues" and Joe Williams's hit with Mr. Basie, "Alright, OK. You Win," to such luminous, sensuous ballads as "That's All" and "A Hundred Years From Today," Messrs. Williams and Webster indeed gave the hardy souls who braved the blizzard that night a quintessential sense of what jazz is all about as Mr. Mance, bassist Bob Cranshaw and drummer Mickey Roker kept the time flowing. What Mr. Mance calls the "magic" here comes from jazz players' ability to listen, instantaneously and deeply, to each other. During an interview with Terry Gross on National Public Radio's "Fresh Air" long ago, Mr. Williams told of how he composed a performance like the one so memorably illuminated in this recording of that night: "As a soloist, you don't get in the way of the music itself. You give everybody a chance to contribute. You mustn't have anybody...back there feeling, 'My part is not important.' All the parts are important....I have to make room so all the parts are heard the way they want it to be heard." As he also noted, "The music will swing if you try not to get in the way." This time capsule of the recording in Providence that is the essence of jazz was opened by Monk Rowe, director of the Hamilton College Jazz Archive in Clinton, N.Y. (www.hamilton.edu/academics/music/jazzarchive/1), an invaluable collection of more than 250 videotaped interviews of musicians and singers. These conversations are on VHS, DVD and audiocassette, and have been transcribed. There is an interview, made solely for the collection, with Joe Williams; and among the material donated by his estate is Mr. Williams's private collection of live open-reel recordings. This tape from the winter night in 1964 was among them. Monk Rowe brought the tape to Joel Dorn, a jazz record producer, broadcaster, raconteur, and all-around jazz insider for nearly 40 years. I keep urging him to write his memoirs. In the notes for the Joe Williams-Ben Webster CD on the Hyena label (hyenarecords.com2), a Dorn record company, Monk Rowe says: "I was sure I had found the right producer when Joel Dorn leapt out of his seat, and exclaimed, 'Do you know what you got here?'" When Mr. Dorn sent me the recording, I was brought back to a night in Mr. Williams's dressing room at a small club in New York where he had just finished a set. As usual, he had been totally involved with the music -- and the audience. We were talking about musicians we had both known over the years who had permanently left the scene, some of them by burning the candle at both ends. Joe pointed at me, and said, "You and I are survivors!" I felt honored to be included as some kind of jazz peer, though I can't play anything but an electric typewriter. In 1999, at 81, Joe Williams died in Las Vegas. Many of his recordings survive, but whenever I want to hear Joe again, this is the one I'll put on first. What Mr. Williams was all about was told the day after he died on National Public Radio's "Morning Edition" by its then, and now much missed, host, Bob Edwards. He recalled going to hear Joe in a small Maryland club on the night of a Muhammad Ali fight on television: "Williams performed in front of just three couples, but he sang as if it was a packed house in Vegas." Joe was later asked by Mr. Edwards, "With only three couples in the room, why didn't you come down with laryngitis?" "No," Joe said, "the only real reward is when you've done the best you could. It isn't money all the time."

One thing I love about Sco are his song titles...many display his sly humor. Some examples: Loose Canon New Strings Attached Away With Words Groan Man Not You Again (his reworking of There Will Never Be Another You)

I found this note via an NPR article. Even while studying science in college, Herbie played jazz professionally in Chicago, sitting in with legends like Coleman Hawkins and trumpeter Donald Byrd. Herbie's reputation as an astute pianist was starting to spread on the scene. Byrd encouraged him to travel to New York and join him in the studio for the trumpeter's 1962 album, Free Form. If you can, read the book to the Herbie BN box. There are great reminiscences by Herbie and Byrd about this time. Byrd helped Herbie out in many ways. And then there's that great story about Herbie bringing 3 originals and 3 standards to his BN audition. After playing his 3 originals (including "Watermelon Man"), Lion and Wolff looked at each other and asked Herbie, "You have 3 more of those?"

I believe the material was recorded by Todd Barkan on 7 1/2" reel to reels. I don't think they can do miracles with the sound quality.

I think there was also an issue in the U.S. on Atlantic.

I don't own the Mosaic set, but I have owned a few of the individual LPs. This is fun, tuneful, lively music. Pepper Adams is a great, hard-driving bari (a worthy antidote to Gerry Mulligan), and I like Byrd's tone and clarity of thought - he may not be brilliant, but he is very listenable. If I recall the liner notes to the original LT issue, Chant was Herbie's first session on Blue Note (but wasn't issued until much later).