Quasimado

Always meaningful to hear from a veteran on the front line. Keep it coming for many more ... Q

Taylor's liner notes for the Smithsonian John Kirby set are particularly fine. There were others I'm sure that were, like the Kirby notes, known to more than "other writers," but I'm too tired from today's 12-inning Sox loss to think of them. Apparently, Taylor's journalistic writing on jazz was confined to the Washington Post by and large and thus wouldn't have been known to many people outside that area. Had the same problem myself writing a whole lot about jazz for the Chicago Tribune for more than decade; virtually no one knew unless they lived in the Chicago area, not until I put some of it in a book in 2004. Then jazz people worldwide could know, and they were correspondingly enraged and disgusted.

Just picked up "Clifford Brown at the Cotton Club 1956" on Rare Live Recordings (RLR). The band is at its absolute live best...never heard anything from them that approximates this. Clifford is simply amazing - even more so than usual. Sonny is at his absolute 1956 King of the Heap best, and Max is maniacal driving perfection. Ah America, to think you had this going on night after night in adult clubs across the land during the 50's ... that's an incredible cultural achievement. I don't think Baraka had this band in mind when he went down on Hard Bop ... Q

Mike Price (ex Kenton - long term Tokyo resident) and orchestra have some fine Gil/ Miles Ahead performances on youtube: Q

Whoops - It would appear Quasi got into some wine and ran somewhat amok last night. I'll tighten the leash. Q

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 Exactly what are you writing about???? Perhaps I'm dense. Please explain yourself. Seems clear enough to me, but just for you ... if they are divorced from the tradition in jazz, it (perhaps) means that few people listen, so therefore they (the musicians) may be subsidized by public funds... It happens in Europe all the time. Whether it should happen is something else. It didn't happen in the past... It may not happen with these guys ... Q

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