Quasimado

I'd like to hear Bertha - any news on that? Q

John L wrote: "I would be inclined to believe that the New Yorker would not publish something called "Sonny Rollins in His Own Words" without a disclaimer unless it was just that." That is very, very close to the legal wind ... sarcastic humor or not ... would anybody here like to have their name used publicly in such a way without permission/ disclaimer ... and be expected to laugh it off?　 Q

Seem to be up to 105 Bird CDs/ CDRs according to the site - a remarkable resource. Sorry to hear it may have gone. Q

Very original tenor for any period - the sides with Fats are excellent, especially considering he was just a kid at the time ... the fast company caught up with him, unfortunately. The comeback Heps are also very nice. This looks like one to find ... Q

Enjoying it - looking forward to part 2 where the real action lies - and Stanley's take on that. Q

Maybe the government and Lincoln Center together in a joint conspiracy.... Q

Forget it. Q

Hawk in the zone, with Tommy Flanagan, Wendell Marshal, Osie Johnson: https://www.youtube.com/watch?v=AHCiT5xU8jI Q

Thanks John. Great news! What obstacles would there be to release? It's now 76 years for the Lester session. Isn't that now under US public domain? Q

If you need further encouragement, check out Clifford and Zoot here on youtube: https://www.youtube.com/watch?v=fyMHd3xw4HE Q

Saw him leading Supersax in the 70's ... very, very hip. The band played Bird's solos like a choir of angels, and then Warne Marsh played Warne Marsh ... unforgettable. Many, many thanks, Med. Q

Agreed ... yet, just listening to Roy with Chu ... what intensity, what creativity! Q

Whatever Larry... I enjoyed what you originally wrote as a piece of subjective writing ... asking if it was all true was perhaps a little unfair. It's a hard life for a writer/ critic. Q

Allen - The album title is "Handyland USA", and his playing is not too bad - basically one chorus per tune - everybody is a little tired, including Davey (the recording session finished at 6:30 a.m.). Then again he plays well on the Gerry Mulligan Songbook, both on tenor and a very dark toned alto (probably the highlight of the disc) - and that was 1957! Anyway it wasn't age I was referring to - he did some his greatest playing with Fats in the late 40's, and qualitively, that was hardly "boyish" ... Q

Concerning Allen, where do you get this from, Larry? I'm talking late 40's early 50's. Maybe your musical ears hear subtleties mine don't ... but are you sure Lester's "gray boys" reference didn't influence your thesis? Perhaps initially you meant to write "gray boyish" - then it's easy to see where you are coming from... Q

*Marionette* by Warne Marsh, Sal Mosca, Frank Canino, Skip Scott Live At Village Vanguard 1981 (Zinnia). Amazing Marsh, then Mosca with extensive quotes from the original LT solo ...

Right ... but long gone, in my case. As I recall it was typed, a few pages - he updated every so often. Others maybe have them ... Chris might know. Q

Similar story here. I visited his apartment circa 1970, in the vicinity of 1st Avenue and 10th Street, saw an unbelievable number of tape decks and equipment and left with a Crown playback deck which I still have (although it hasn't worked in years). More importantly, I also left with six acetate discs of Mingus at Birdland (1961-62) from which I made open reel tapes for myself and a Mingus fanatic in England. Indeed these tapes have been the source of all the copied tapes and ensuing CD-Rs that have been circulating the globe lo these many years. BTW, I still have the acetate discs but haven't attempted to play them in years. "was it commonplace for acetates to be for sale? just like what he didnt want to keep? or did he actually cut you off your own copies?" He had an occasional catalogue you could order in DownBeat. I got his catalogue and simply ordered and received white label acetates of "Bird, Fats, Bud"; the "Lover Come Back to Me" session plus, "Lester at Birdland", "Lennie Tristano 1964 "Let's Look up and Live (side A), LT with Warne Marsh at the Half Note" (Side B)" and others. Thank you Boris. Q

Opera? Well, he "may" have been pleased with the idea. The result? Who knows ... I just hope Daniel knows (really) who he is dealing with ... Q

Jack Goodwin has just listed details of this long rumored-to-exist tape on his excellent site: http://www.warnemarsh.info/ 52-1214 LIGHTHOUSE ALL STARS The Lighthouse Café, 31 Pier Avenue, Hermosa Beach, CA. November 30, 1952. Shorty Rodgers, tp; Warne Marsh, ts; Jimmy Giuffre, ts; Milt Bernhart, tb; Frank Patchen, p; Howard Rumsey, b; Shelly Manne, d. 1. Moten Swing 2. Round Robin 3. Love For Sale (Warne Marsh out) 4. I'll Remember April 8:42 5. Not Really the Blues 6. Ballade (Warne Marsh out) 7. Indiana (Warne Marsh and rhythm only) 8. Jumpin' with Symphony Sid 9. I'll Be Around (vocal by Gloria Faye) 10. Topsy Recorded by Bob Andrews. The original tape is now in the Los Angeles Jazz Institute (Director, Ken Poston). Q

"Evergreen Review" period was nice ... then seriously downhill. Anyway, RIP. Q

According to the liner of the Munich concert CD from 9/16/53, the saxophone section was: Konitz, Schildkraut, Bill Holman, Zoot, Tony Ferina (bari). Q

Allen, why not relax with a taste of N.O. tabaccy and let Bud take you for an aesthetic ride? Q

Peter Pullman’s encyclopedic “Wail – The Life of Bud Powell” mentions this session on page 270, with a subsequent footnote: “Levy gave Powell a Monday night to play at Birdland, so that he could record him leading a quintet and issue it in stereo on Roulette. (55) Footnote 55 An early example of live, stereo recorded in a nightclub, the music has great fidelity. Powell leads a quintet with younger soloists - Donald Byrd on trumpet and Phil Woods on alto saxophone. But aside from Byrd, the playing is ragged, and the music will probably never be authorized for issue in a commercial format”. I think the sound is reasonable. I would definitely disagree that the playing is “ragged”. – rather it’s hot and spontaneous. To my ears, this is great Bud, stretching out on the changes as only he can. It’s also an excellent front line. Phil Woods is on fire and Donald Byrd plays well, although to my ears he perhaps plays one or two choruses too many on some tracks. The rhythm section is also fine, although again personally I could have done with a few less choruses from Paul Chambers (bowing).

How come? Beer contains animal products? Q