Quasimado

Same here! He's good. With his music, I see the piano as an expressive tool divorced somewhat from Tradition, but with energy and soul to spare. He's also a very nice person. Plays with Mike Watt (Minutemen)! Does being divorced somewhat from tradition mean that he (or any of these out cats) have to be subsidized in some way to make up for that? Can they stand on their own feet? Am I being too harsh? Q

Very interesting, Jim. I see the Warne Marsh Quintet's performance from "Stars of Jazz" (supposedly recorded at ABC on 3/11/1957) has recently been released on Fresh Sounds. It's a fine performance. Was it ever broadcast, I wonder... Too bad some stateside labels (apart from Calliope, or with more distribution) didn't pick up on this stuff. What happened to all the video tapes? Q

How did these cats make a living post 1970? The jazz they grew up on was largely gone. Hal was in the CBS orch., but how long did that last? Teaching, I suppose ... they certainly had the rudiments ... Q

I doubt that you will... Quite a site. Q

The "just before this" can be interpreted in 2 ways - Before the recording was actually made (for Three Deuces/ Deluxe), or before it was finally released on Roost. The answer may reside in just when Bud, Max and Curly were active as a trio. Actually, I've always thought this session was from '47. I think I got that info from an old European 10" Vogue release. Q

In "Jazz Masters of the Forties", Gitler has this to say: "In the late forties, Powell did trio work with Curly Russell and Max Roach. They recorded for a company called Three Deuces, after the Fifty-second Street club, but the 8 sides (including Off Minor)eventually were issued on Roost... Just before this, Powell had recorded a fine session for Norman Granz on Mercury with Roach and Ray Brown ..." The cover of RLP 401 (no liners or dates) has the following: "Bud, Max and Curly are at their greatest on these 8 sides. They had just concluded working together as a trio and had many fresh ideas ..." Q

Left-wing ranting, Right-wing ranting: There are no excuses. Call it straight what it is, pure disgusting BS! Q

Beautiful! Q

There's not much in the greatest jazz of the past that was not touched by Lester. Now his influence is almost gone. Who wants to hear some softish, rhythmic, subtle cat these days? So jazz is almost gone too ... maybe it went with Lester... Q

Do we need to go into this AGAIN? Q

Seems the video has been taken down... too bad. Q

Didn't sound much like "used to be jazz" to me ... Q

The comments to this article are sad, to say the least. Q

There are hints of something (Milestones), but on the whole Mile's playing with Bird was pretty raw - nowhere near Fats or Diz. In fact judging from his early playing, as a horn player it's remarkable he became as great as the critics said he did. Q

Saxypete - That was wild! That's one great site. The Warne Marsh "Yardbird Suite" and the recommended video are something else! Q

Your wife has GREAT taste! Q

The '53 band that toured Europe had that great sax section - Konitz, Schildkraut, Zoot, Bill Holman. CDs are: Munich 9/16/1953 on "Sounds of Yester Year" Paris 9/18/1953 on "Jasmine" There's also an interesting one from the Chicago Blue Note in 1952/3 where they do Graettinger's "Thermopylae" live. It gets a bit ragged ... Q

Whatever - seems like Jim wants to stick with the "monstrous" label... Q

It's not about liking him, it's about liking the music of the band. And that gets pretty hard sometimes...often...usually... I do know that Konitz has been open in his thankfulness for the gig and the financial needs it met for him and his family at the time, probably the same for Schildkraut.. So, yeah, nice guy, don't know of anybody who disliked him as a leader and no doubt he was quite the hands-on type! As more and more recordings of the live dates become available from that period (I have about 8, and there are more) it's obvious how well Lee adapted to the Kenton environment, resulting in some of the greatest alto features for big band that I have had the pleasure of hearing. I'm extremely grateful to Stanley for that. Q

A moronic article, full of bile and hate. You would think a magazine like this would employ editors or sub editors to oversee their riffraff contributors. Stan certainly had his weak moments, but on the other hand he made some excellent recordings and employed some superb musicians. And, the musicians respected him. He does not deserve this. The writer would not know jazz or decency if it was approaching his navel from way down on the inside. I wanted to reply direct, but it seems to comment one has to sign up for a lifetime - of this crap? No Way. Never. Monstrous article. Q

Confirmation. Q

You're way ahead of me. You do great Bird (right!), great Warne Marsh (right!). Now you do this (???). Q

And here I thought swing was passe on this board! Nice to hear that it's not! Just a nice even 4 ... and a fine soloist. What more could one ask... Q

Nice underwear. Q

Allen you keep repeating your thing on Tristano based on some interview you did when you were a teenager... well, whatever, his music speaks for itself - check out the Jazz Records catalogue - not to mention the many who, contrary to you, knew him well and admired him greatly. Q