Leeway

I think that was Aggie who mentioned the shipping invoice.

As opposed to Bill Evans, later, who despite Russian ancestry, cancelled his own tour claiming political reasons... Perhaps that was the reason. OTOH, wonder if it might have been due to his drug addiction? It would have been hard to "score" in the USSR.

After having everything on Backorder for quite a while, the logjam broke and nearly everything shipped. Unfortunately, they showed up in about 6 different boxes on the same day. My wife was, er , aghast B-) The Jack Johnson box and Seven Steps box look like the regular comemrcial editions. I also plunked for the Rollins set, which I couldn't pass up at that price. Plus some other stuff Apparently, the cure for slumping CD sales is-- Cut the price

GOM, you might take a look at the chapter in Dizzy Gillespie's memoir, "To Be Or Not To Bop," where he talk about his State Department sponsored tour. Dizzy had some interesting things to say about it, and some mixed feelings come through. Don't know if this is covered in the new book.

GIANTS OF MODERN JAZZ: Dizzy Gillespie and Charlie Parker Jazztone J-1204. With Flip Phillips, Lucky Thompson, Miles Davis, Red Novo, Milt Jackson, Teddy Wilson, Dodo Marmorosa, Al Haig, Slam Stewart, Ray Brown, J.C. Heard, Stan Levey , et al. Vibrant performances from the 1940s and even the sound is pretty good. Can anyone provide further information about Jazztone? And: Liberty pressing. And: Don Patterson "THE BOSS MEN" Prestige 7466, blue label, Bergenfield address, RVG recording. With Sonny Stitt and Billy James.

There are quite a few cool covers in those early Blue Notes - perhaps un/underappreciated because of the focus on both Reid Miles work and the music of the hard bop and later era. I love the energy and freshness and even rawness of those earlier recordings. Anyway, does anyone know who the artist was for the Moody (and possibly other) cover designs on these early BNs?

There was a Japanese BN CD 'New Sounds of Art Blakey & James Moody' from 1990 that had all nine sides that James Moody recorded for BN in October 1948. Ron McMaster made the digital transfers. Ed. add: see now that this is being discussed on the Discography forum! Thanks Brownie for the info. Yes, I moved the question to the Discog thread. I figured, why am I asking about a CD issue in the Vinyl thread, for goodness sake? B-) I'd like to get the vinyl of course, but I figure my chances for finding a decent copy on vinyl are pretty slim (although I should check around).

Can we hook him up with Terri from the Norah Jones thread?

Thanks all for the information BTW, I really dug Pozo's playing and vocal on Tin Tin Deo. Certainly an interesting character from the bop days.

Thanks! It seems Amazon has some copies. Edit: On closer inspection, the track listing given doesn't match up with the discog info. Plus the Amazon listing is for a Capitol release. OTOH, it does list Moody and Blakey as the artists on the album. So I'm confused. Was this a Blue Note release on CD?

Indeed! ANYTHING w/the Byard/Davis/Dawon trio ( a favorite of sorts for Schlitten at the time, it seems) is going to take damn near any tune and mutate it far beyond the realms of "traditional". A miraculous trio, actually. This one finds Booker & Dex going up against that dynamic (w/Reggie Workman in place of Davis) for two long jams on very traditional forms that don't stay traditional for too very long, if you get my drift. Byard in particular is getting his freak on. Booker's there from the git-go; however it takes Dexter one tune to really catch the vibe. But when he does, WOOOOOOOOOOOO!!!!!!! Jimbobwe says check it out! Does your copy have the original liner notes by David Himmelstein? Very funny stuff, and gives a good idea how f-----d up things can get when trying to make a record. As to "In/Out" playing, Himmelstein comments: "Booker leads of, going 'outside' at once, no problem with Jaki at the tiller...Now Dexter's turn...Dexter's my name, bebops my game. Right down the middle...Jaki tries to go 'out' but Dex will have none of it, exept as a joke."

I was playing the "Blue Note Gems of Jazz" LP. There is one track on it by James Moody and His Modernists, "Tin Tin Deo," with Chano Pozo. I checked a James Moody discography site, Moody Discog and here's the session details: I've checked Tower (as noted in the discog) and other usual record sources but can't locate this on CD. Question: was it ever issued on CD? If so, anyone know of its availability? Here's a picture of the album:

Bassist Wilbur Ware leads a group with Johnny Griffin, John Jenkins, Junior Mance, and frank Dunlop. Milestone Victor Japan mono.

Blue Note Gems of Jazz BST-82001. A compendium of fine earlier performances, from between 1948-1953. One that jumped out at me this time was James Moody and His Modernists (I believe from an album of the same name, BN 5006), with Chano Pozo, "Tin Tin Deo." Pozo really knocked me out. Is this Moody album available on CD?

From a fully loaded Airbus, baggage claim must be a version of Hell Just what we need, an airborne version of Greyhound

Nate, I have been eyeing that album and listening to all the clips on CD Baby for some time now; definitely one I want to get. Ash some other stuff out too. I note on his web site that he says Smalls held off issuing "The Phoenix" for a few years. He has some later albums out since "The Phoenix." Time to pull the trigger on it I guess.

Deus, I probably did underprice it. The host of the show asked the good doctor, "Don't the neighbors complain when you turn it up?" This despite the fact that the house was on a generously-sized, wooded lot. He responded, that he could only do so because it was in the basement, o/w it would be too loud. I have never seen a bank of Mac amps like that; those blue meters were mesmerizing. Doc, if you happen to frequent this board sometime, and see this thread, I want to come over and play some Blue Notes on your stereo

Good Idea! I will spin THE BALLAD OF THE FALLEN Thanks Porcy-- I'm thinking more along the lines of "Song of the United Front" BTW, this is a wonderful album, full of passion, politics and musical creativity.

Yes, I know that the auction thing is not new. I have to disagree with you though. I do think it hurts them as far as developing and expanding walk-in business and developing this and the next generation of music fans--although I'll accept the fact that since they are still there, they must not agree B-) . And I'm glad they are still there, for sure. When I go to Jerry's, I really don't expect to find any Blue Notes, Impulses!, etc, as I know they have been skimmed off for the auctions. I look for the less obvious things, things that don't have EBAY appeal. I'm talking jazz here, not rock or 45s, which Jerry has a lot of and might be a big part of their business. I get the sense that I'm looking among the leftovers, and that's kind of a disincentive. I have found much more buyable material in much smaller stores in other towns, where the owners keep their stock. I also wonder-- if they didn't use the auction route, would the material sell in-shop? I really think it would. At their price. And with a more positive result for the shop as a place where buyers, collectors, and fans can have a share of the action. Sometimes I think the whole EBAY thing is a sort of mania, like Dutch tulip collecting, that becomes an end in itself and not the means to an end. I'm sure you have been to Princeton Record Exchange. Everything (ASAIK) goes into the racks, where a very brisk business is done. They have a huge and loyal clientle from all over the country (and beyond I believe). No EBAY involved. I have a sense of excitment when I go there. I think Jerry's has eliminated that sense by "cherry-picking" its own stock.

I've popped into Jerry's whenever I get to Pitt-- a few times a year at least-- and I like the place -- how could one not. But I'm disappointed with them going the auction route. What's the point of having an open shop if you want to play EBAY in it? If they want a certain price for it, they should price it accordingly and give their customers a chance to buy it straight-up. I do recognize that they want to get the most $$$ that they can, and so they go the auction route. That's a short-term solution. I believe they actually hurt their long term prospects. You want to encourage people to come into the shop. If customers figure that "all the good stuff" is held back, they will not bother to come in. Customers in an open shop tend to buy more as a result of browsing around, looking at the records, something new catching their attention, etc. This also helps customers develop new interests, with the result that they add new things to their "looking to buy" list. This is how you build a clientle, and, incidentally, it helps jazz as a whole in the long run, because people are exposed to a wider range of artists. The auction route favors very narrow buying habits and a tendency to focus on the "high spots." This has less to do with jazz as an art form to explore, and more to do with jazz records as a "collectible." BTW, the guys at Jerry's are a nice bunch. I'm glad the store is still there, which I know is not an easy accomplishment. But I just think this auction thing is misguided.

Nate's got a nice site with much interesting content and links.

Certainly a different style (and look ) but Kaki kind of reminds me of Leo Kottke- and not just as a matter of consonation.

Thanks late for your considered answer and your insights into the poetic process. The "determined" quality that you speak of reminds me of Wordsworth's thoughts on poetry: Emotion recollected in tranquillity-- that is, I take it, a form of the "determined" poem. It deals with powerful feelings, but is composed after the act, "tranquillity" being the deliberate artistic process. Is that right? As you know, I'm sure, a lot of the Beat poets, like Ginsberg and Kerouac, took (or tried to take) the opposite approach. They tried to write in the heat of, or the moment of, that "overflow of powerful feelings." I suspect there remained, still, a deliberative process. It also occurs to me that perhaps jazz might be said to enact itself in the act of "spontaneous overflow." I'm not sure I made any of that very clear. B-) Hard to explain, but I feel that poetry and jazz share the same kind of ineffable power to attract and beguile and inspire.

Allan Lowe was offerering this box a little while ago in O/L for a good price: New Orleans Box for Sale

Late, I suppose one could say that a poet's work is influenced by everything that is a part of the poet's life, but does jazz have a particular influence on either what you write or how you write about it? I'm curious about the kind of artistic cross-pollination that might be at work; perhaps you could shed some light on how jazz might inform the poetic process. Also, congratulations on your book, and I look forward to reading it.