mjzee

There were two 2-record sets, both from the same tour, one on Columbia (Herbie's label) and one on Polydor (Chick's label): Columbia Polydor I didn't like either of them, but then, I never liked either of their styles - too busy, not melodic enough. As a contrast, I loved the Hank Jones/Tommy Flanagan dual-piano album that came out around the same time.

The music doesn't have a "digital fingerprint" per se. CDDB recognizes an album by 1) the number of tracks on the album, and 2) the length of each track. It turns out that that combination allows for a great specificity of which album it is; you'd think there would be many albums with that combination, but there aren't. At times when CDDB isn't sure, it'll ask you to choose, and present you with a list (in my experience, it's usually 2 different releases of the same album).

Yeah, ain't those CC cards nice? Heard they're now available at Best Buy as well. Cool, Best Buy is much closer and I got the last one at Circuit City. Dl's for this month: Various Artists - Nigeria Special_ Modern Highlife, Afro-sounds & Nigerian Blues 1970-76 David Sanchez - Cultural Survival Harold Land - West Coast Blues! Eric Dolphy And Booker Little - At The Five Spot Volume 1 & 2 Pink Anderson - Carolina Blues Man Volume 1 Linval Thompson - Ride on Dreadlocks_ 1975-1977 That Harold Land looks really nice.

Was it ever nailed down exactly why Miles appears as a sideman on Somethin' Else? I've heard a lot of theories floated: Miles said in his autobiography "because he asked me," I think Cuscuna said it was to help BN out as a favor when they were struggling... It's pretty obvious it's more of a Miles album than a Cannonball album. Thoughts?

With the aid of some Circuit City booster packs... Serge Chaloff - Boston, 1950 Freddie Redd - Lonely City Chet Baker - Boston, 1954 Lennie Tristano - Live at Birdland 1949 John Fahey - Sea Changes and Coalecanths Lee Konitz: European Episode - Impressive Rome The Congos - Heart of the Congos King Tubby - Freedom Sounds in Dub Jah Wobble - Without Judgement Thunder Before Dawn (The Indestructible Beat of Soweto vol. 2) Jive Soweto (The Indestructible Beat of Soweto Vol. 4) South African Rhythm Riot (The Indestructible Beat of Soweto Vol. 6) Allen Eager - In The Land of Oo-Bla-Dee Bud Powell - Autumn Broadcasts Dan Hicks - Selected Shorts Martin Taylor - Solo Kenny Burrell - Lotus Blossom Any Trouble - Where Are All The Nice Girls Arne Domnerus - Jazz At The Pawnshop Joe Pass - Unforgettable Dave McKenna - Solo Piano Hank Jones - Live at Maybeck Claire Martin - Too Darn Hot! John Fahey - The Great Santa Barbara Oil Slick Lee Konitz - Peacemeal Earl Hines Plays Duke Ellington (2 vols) Bennie Green - Trombone By Three Art Pepper - + Eleven

Great to know. Earl was a master.

Barney Wilen - Jazz sur Seine Kenny Dorham - Blue Spring Earl Hines - Live Broadcasts from the Hangover Club, SF, 1955 Gerry Mulligan - Midas Touch Mal Waldron - On Steinway Herb Ellis - Roll Call

One aspect not yet mentioned: You might want to take a booth at a record fair. In the New York area, there's the yearly WFMU Record + CD Fair. It's a lot of fun, you'll get to meet a lot of other record collectors, and you could make good money, too. This year, it's October 24 - 26. See WFMU Record + CD Fair. If you're not in the NYC area, perhaps there's something similar near you.

Thanks; I don't look at "Miscellaneous - Non-Political."

DANBURY, Conn. (AP) — Joe Beck, a jazz guitarist who collaborated with artists such as Frank Sinatra, Miles Davis and James Brown, died July 22. He was 62. He died at a local hospice after battling lung cancer, according to the Munson-Lovetere funeral home. Beck was a prolific studio and session performer, arranger and producer, with an identifiable harmonic and rhythmic sound. He was honored five times by the National Academy of Recording Arts and Sciences as a "Most Valuable Player." Beck got his start as a teenager in the 1960s playing in a jazz trio in New York. By 1968, he was working with Miles Davis and other top jazz stars. After taking a three-year break from music to run a dairy farm, Beck went back to music in the 1970s, working with artists such as Gloria Gaynor and Esther Phillips, including on her hit single, "What a Difference a Day Makes." In 1975, his collaboration with saxophonist David Sanborn, "Beck and Sanborn," became a cool fusion hit. He also composed and arranged for both film and television, and played with the Royal Philharmonic orchestra in London, the Milan Philharmonic in Italy and the Paris String Ensemble in France. Beck went back to farming in 1988, but was recording and touring again by 1992. In 2002, he organized the 72nd birthday celebration for the king of Thailand, who played saxophone with Beck. He last toured in December 2007, playing in Europe with fellow jazz guitarist John Abercrombie. Beck also taught guitar at Naugatuck Valley Community College in Waterbury.

I'm listening to Ben Webster's "Layin' Back With Ben, Vol. 2" on Honey Dew records. What are people's thoughts on this label? The Webster music is excellent, tho the sound quality is lo-fi and the pressing crackles. It's a date recorded in Rhode Island in 1964 with the house band. I think the two albums have been reissued on one CD (on Storyville?). The back of the LP lists their other releases: HD 6601 Nina Simone - Please Don't Let Me Be Misunderstood HD 6602 Elvin Jones - Skyscrapers, Vol. 1 HD 6603 Elvin Jones - Skyscrapers, Vol. 2 HD 6604 Elvin Jones - Skyscrapers, Vol. 3 HD 6605 Elvin Jones - Skyscrapers, Vol. 4 HD 6606 Ben Webster - Layin' Back With Ben, Vol. 1 HD 6607 Ben Webster - Layin' Back With Ben, Vol. 2 HD 6608 Carol Sloane & Ben Webster - Carol & Ben HD 6609 Davey Schildkraut/Tony Fruscella - Bebop Is Where It's At, Vol. 1 HD 6610 Davey Schildkraut/Tony Fruscella - Bebop Is Where It's At, Vol. 2 HD 6611 Joe Newman - Shiny Stockings HD 6612 Joe Newman - Way Down Blues HD 6613 Dave McKenna/Wilbur Little - Oil & Vinegar HD 6614 Pee Wee Russell - Hot Licorice HD 6615 Wilbur Little/Dave McKenna - Natural HD 6616 Pee Wee Russell - Gumbo HD 6617 Bobby Hackett - Butterfly Airs, Vol. 1 HD 6618 Bobby Hackett - Butterfly Airs, Vol. 2 HD 6619 Dizzy Reece - Possession, Exorcism, Peace HD 6620 Bobby Hackett - Tin Roof Blues HD 6621 Vera Auer - Positive Vibes I once owned the Elvins, but thought they were boring. I'm curious about the Carol Sloane & Ben, Dizzy Reece, Dave McKenna and Pee Wee Russells. Thoughts?

Very sad. RIP, Mr. Griffin.

Also this: Dexter Blows Hot And Cool

The thread on Zoot Sims reminded me that Inner City distributed the Choice label. Interesting, eclectic artist mix: I remember Joanne Brackeen (a great duet album with Eddie Gomez) and Sal Mosca. Sound quality left a lot to be desired. And yes, overall, Inner City pressings were from hunger: crackly, warped and off-center.

I record to a standalone CD recorder (a Marantz), then use Amadeus Pro on my Mac to convert into mp3's. The process works well, and allows me to normalize tracks that need it (i.e. make them louder), do fade-outs on applause, etc. It also allows me to rip at vbr q2. The process can take an hour per LP (or 12 tracks from 45's), so be prepared for that.

This looks very interesting and versatile. Has mic inputs, level controls, and more. See: GoStudio.

It appears from Jazzdisco.org that the first few were: Peterson/Pass/Pedersen - The Trio Fitzgerald/Pass - Take Love Easy Duke Ellington - Duke's Big 4 So I was wrong again. Like THAT'S a surprise. Thanks for the response! Greg Mo I"m not saying I'm right, either; it's just an educated guess based on the discographical info at jazzdisco.org (assuming that's correct). But the odds are good.

That looks like some more stuff I should get. Would you mind posting the details of all three please? MG Milt Jackson Quartet Milt Jackson (vib) Monty Alexander (p) Ray Brown (b) Mickey Roker (d) "Ronnie Scott's Club", London, England, April 23 & 24, 1982 Impressions Pablo 2310-932 Flamingo - Eleuthera - Good Bait - F.S.R. - Medley: Reggae / Later - Close Enough For Love - Captain Bill - Three Little Words Pablo 2310-944 Used To Be Jackson - The Summer Knows - Main Stem - Caravan - Take The "A" Train - Things Ain't What They Used To Be - Come Sunday - Just Squeeze Me (But Don't Tease Me) - * Milt Jackson - A London Bridge (Pablo 2310-932) * Milt Jackson - Mostly Duke (Pablo 2310-944; Fantasy OJCCD 968-2) Milt Jackson Quartet same personnel "Ronnie Scott's Club", London, England, April 28, 1982 Straight, No Chaser Pablo Live 2308-235 Blue Monk - 'Round About Midnight - In Walked Bud - Django - Think Positive - Blues For Groundhog - * Milt Jackson - Memories Of Thelonious Sphere Monk (Pablo Live 2308-235; Fantasy OJCCD 851-2)

It appears from Jazzdisco.org that the first few were: Peterson/Pass/Pedersen - The Trio Fitzgerald/Pass - Take Love Easy Duke Ellington - Duke's Big 4

Sonny Rollins: No Problem Easy Living Old Flames Here's To The People Love At First Sight Don't Ask Global Warming Dancing In The Dark Falling in Love With Jazz Sunny Days Starry Nights Don't Stop The Carnival The Solo Album Jazzstars in Concert Maceo Parker - Roots and Grooves

http://www.stamfordadvocate.com/ci_9858899 Area has rich musical tradition By Ray Hogan Staff Writer Stamford Advocate Article Launched:07/12/2008 02:41:42 AM EDT When Roy Haynes headlines the Norwalk Jazz Festival in Veterans Memorial Park today, audience members will experience a living legend with a historic link to the music that few living musicians possess. The drummer's career has placed him with some of the music's greatest innovators during periods of crucial growth in jazz. From Lester Young's cool swing in the 1940s to Charlie Parker's hand in inventing bebop in the 1950s to John Coltrane's spiritual explorations in the 1960s, Haynes' resume traces the history of modern jazz. That he remains a powerhouse drummer at 83 serves as an exclamation point to a blessed career. After attracting just 550 people to last year's inaugural festival, organizers have been beating the drum to draw a larger crowd today. The future of jazz in the area may not entirely be at stake, but the past is certainly hard to live up to. Though many of the giants of jazz are gone, the music continues as a living history and tradition. Two Stamford men have placed themselves in the middle of jazz music's ongoing evolution. Perhaps fittingly, they have been friends since childhood. Drummer Joe Corsello has a full resume dating to the 1970s that includes stints with Peggy Lee, Benny Goodman, Gerry Mulligan and Marian McPartland. His career was balanced with 22 years as a Stamford police officer beginning in 1980. Michael Cuscuna, a former producer, radio show host and journalist, co-founded Mosaic Records, the premier reissue label for jazz collections, specializing in complete box sets of renowned and overlooked artists. He founded the company in 1980 and it has been operated out of the same Waterside location since 1989. He was a primary source on Ken Burns' "Jazz" PBS series in 2001. Corsello and Cuscuna frequented New York City clubs together as students, at a time when an 18-year-old drinking age meant 15-year-olds were allowed to enter. "It was easy, safe and cheap to get into New York," Cuscuna said. "I used to see Coltrane 10, 11, 12 times a year. With Coltrane, Elvin Jones, McCoy Tyner and Jimmy Garrison, the whole is far greater than the sum of its parts. It was as great as any experience in life has been." Cuscuna's first exposure to the music came as a young drummer. He bought Buddy Rich and Gene Krupa records for the drum solos but began to appreciate the rest of the music. Corsello's father, Tony, a guitarist in the Sammy Kaye Orchestra, took him to Rich's Three Gables (now Seaside Tavern) to see Dizzy Gillespie and Kenny Burrell. Corsello took jazz courses at Rippowam High School and went on to attend the Berklee College of Music. "Jazz gave us a passion that shaped us for what we were going to do with our lives," Cuscuna said. "My wife is an artist, and we both knew at 12 what was driving us and what we were going to do with our lives." Cuscuna fondly remembers hanging out at Economy Music at the end of Summer Street. "They had sheet music, records," he said. "We'd spend hours there talking about records. There was that kind of scene." Southwestern Fairfield County has never been a jazz hotbed - its proximity to New York, the jazz capital of the world, won't allow it. "The problem with Stamford as a city - and some of this has been overcome - is that everyone hops in a car or hops on a train to see the real thing," Cuscuna said. "The availability of so much in New York means nothing will ever really get going." However, the Stamford-Norwalk area plays into jazz history more than one might expect. Benny Goodman lived in Stamford and is buried at Long Ridge Union Cemetery. Hard-bop pianist Horace Silver was born in Norwalk. Cool pianist Dave Brubeck has long called Wilton home. Guitarist John Scofield was born in Wilton. Saxophonist Gerry Mulligan died at his Rowayton home in 1996. Baseball legend Jackie Robinson and his family hosted benefit jazz concerts in Stamford and Norwalk for almost 40 years beginning in 1963. At those concerts, starting as a teenager, Corsello provided the beat for Gillespie, Bill Evans, Ella Fitzgerald and Silver. "I don't know if something like that will happen again," said Corsello, who will perform today in Norwalk as part of the Ralph Lalama Quartet with Nicole Pasternak. "It's so tough today. They can have a high school band, and the kids and their parents don't even support it." Along with Haynes, Sonny Rollins is another of the music's living legends. Referred to as "The Titan of Tenor" and "Saxophone Colossus," Rollins solidified his status by the end of the 1950s and hasn't been too hampered by age. In 2006, Corsello was attending a jazz conference in New York where Rollins was a keynote speaker. Corsello's brother, Richard, has been Rollins' recording engineer for 30 years. Richard told Joe to say hello to Rollins and let his brother know they were recording a new CD in midtown Manhattan. The conversation led to Corsello auditioning for Rollins' band. Three days of rehearsal were held at the Carriage House recording studio in Stamford, and Corsello and Rollins bonded while the latter was staying at a Greenwich hotel. Corsello wound up playing on "Serenade," a tune Rollins wanted to dedicate to the late drummer Elvin Jones, on Rollins' most recent disc "Sonny, Please." "He is just an amazing individual," Corsello said. "When we're getting driven to a gig, he's snapping his fingers, writing a tune in his head. He never repeats himself. When the public goes to see him, it's like going to see Brubeck. They want to experience the person." Corsello was playing with Lee's 40-piece orchestra at a New York hotel in the early 1970s when Goodman was in the audience. A few days later, Corsello received a call from Goodman's secretary. His first gig was in Rochester, N.Y., and Corsello remembers wondering if "The King of Swing" could still draw an audience. Not only was the show sold out, 500 chairs were added to accommodate the overflow crowd. Corsello also recalls the intimidation of joining a band that included saxophonist Zoot Sims, bassist Slam Stewart and guitarist Bucky Pizarrelli. Having backed some of the music's immortals since his teenage years, Corsello has 40 professional years of perspective. He wonders about the future of jazz. "As a musician, you talk to the real masters about what the music was like then and the opportunities to play. They aren't there anymore," he said. "We would go to Birdland as little kids. There's nobody coming up right now. There's not another or a new Bill Evans or John Coltrane or Sonny Rollins, someone who can draw 10,000 to a concert. I don't know who is going to replace them." Cuscuna said he isn't as concerned. As a record man who weathered one storm only to see the compact disc reinvent the industry in ways no one expected (many people bought everything they owned on LP or cassette in CD form), he believes the music will always rebound. "There's a lot of great musicians and live music is healthy," Cuscuna said. "If your willing to travel, there's enough work around the globe. I'm not worried about recorded music, either. It will be replaced. Some of this will be better. The musicians will control their own destiny. You can sell 1,000 records off the bandstand and make more than selling 12,000 through a retail outlet." Mosaic Records was created after an attempt by Cuscuna and his late partner, Charlie Lourie, to buy Blue Note Records in the early 1980s. "One small part I wanted to do of the catalog exploitation was box sets," Cuscuna said. "I realized this could happen on its own. The whole idea was to make a limited edition, so for some people it would have an urgency and collector's value." The idea was for the box sets to present previously unissued material to paint as complete a recorded picture of an artist during a particular time period as possible. The first release was "The Complete Blue Note Recordings of Thelonious Monk" in the summer of 1982. Though Cuscuna said he and Lourie lived off their savings and credit cards during the first few years, Mosaic grew to be regarded as the premier boutique reissue label for jazz. Artists such as Lester Young, Sarah Vaughan, Django Reinhardt, Charlie Parker and Hank Mobley (among many others, including lesser-known artists) would subsequently get the Mosaic treatment in collections ranging from four to nine CDs. In time, Mosaic added its "Select" series, which would pare down the box sets to three CDs and individual CDs. "We have two types of customer: the hardcore collector and the person just getting into jazz who trusts our editorial selection," Cuscuna said. "They are probably the best demographics to have. . . . We'll always make a gourmet meal of the of the scraps of the major labels." Cuscuna said he believes musicianship among the current generation is strong, but what the music lacks is the outsized personas he encountered in the 1960s and 1970s, musicians such as Dexter Gordon with whom he became good friends. "There's a definite lack of personality," he said. "You go to a festival and none of the young musicians are at the hotel bar."

I've recommended this elsewhere on this board: What a strange, grooving record! A trio of Dizzy, Pretty Purdie, and Toots Thielemans (on guitar only). I don't have anything like it in my collection. Very enjoyable. Lorne Lofsky has a nice trio date, produced by Oscar Peterson (who doesn't play): One of my favorite Joe Turners; one side blues, the other covers like "I Left My Heart in San Francisco": The 3 records made from Milt Jackson & Monty Alexander's date at Ronnie Scott's (of which this is one): And a great, driving Joe Pass set:

Woody Allen made some hilarious albums in the early '60's for Colpix, collected here: There was a huge run of Redd Foxx lps on Laff (?), along with other black comedians such as Moms Mabley and Pigmeat Markham, that I'd see in the back bins of my local record store, usually with the admonition "Adults Only!" Once Sanford & Son hit, he went mainstream on Atlantic: And how about Steve Martin? These lps were HUGE...the first two especially. They sold like rock lps: Robin Williams had a best-seller too, from his Mork & Mindy days: That was probably the last generation that really sold comedy records, because then the VCR came along. The next big hit that I remember, Eddie Murphy - Delirious, sold more on video than on LP or cassette.

Through Thursday, 7/17: Thelonious Monk Quartet with John Coltrane at Carnegie Hall for $5, from Amazon: Monk & Coltrane at Carnegie

Warne Marsh "Tenor Gladness" There was also a Pony Poindexter.