Quasimado

Can't argue with Ted. Q

I don't know what that guy was on about in relation to Warne's playing. It's a very fine recording, an excellent summation of his Rediscovery in the 70's, and it's right that it should be appreciated as such. It's also worth reiterating that the hard core Marsh/ Tristano people feel that the 50's - early 60's is where the genius really shines. Q

Nobody's saying you have to celebrate craft as an end to itself. But craft is where things come from ... it takes time, and many people (musicians in our case) enjoy it along the way, and then an artist comes along and moves it into the next phase ... Q

Give me "craftsmen" anyday, without the "artist" bullshit. The real artists come along from among the craftsmen, when things are ready for it to happen. Q

I'm not sure about Giant Steps, but many musicians like the challemge and beauty of Cherokee and other jazz standards, and do the best they can, and (sometimes) know what went before. Art is for "Artists". Q

Jesus, you asked for this Allen, and JSngry's on a roll ... Q

Their championing of Warne Marsh was an indirect contribution - not connected to their music - but it did show they had good ears. Q

It's even better in spring. Q

Bird in Time 1940-47 (ESP4050) is a fine 4 cd box, and a labor of love by the compiler Michael Anderson, ex jazz musician and long time jazz DJ. As well as a chronology of superb rare transcripts and recordings, it is supplemented by interviews with Bird (of course), Max Roach, Milt Jackson, Earl Coleman etc. Nice booklets, too. Q

Very nice alto - Ernie Henry comes to mind ... Q

Don was one of the great trumpet players. There is a beautiful thing of him with Lester on Philology "Lester's Hat 3", with Bill Triglia which shows him at his best... He seemed to prefer avoiding the limelight, disappearing into obscurity after Lennie Tristano praised him to the skies in a letter to Downbeat...something like "Don Ferarra is the next Messiah"... I heard that in the 60's he used to teach in the same school with Warne for a time in LA, and then by cassette correspondence... Q

Certainly the more you research this, the more it appears that it was drugs, that he OD'd and was dumped in the desert by fellow junkies. Teddy Edwards has a pretty revealing interview in Cadence magazine of April 1994. I read somewhere Benny Carter was convinced he was using in his(BC's)band at the Moulin Rouge ... Q

Hell of a musician - lead or solo. Almost a great... Q

Nice! The record Clifford mentions Ted recorded in Japan is: *Ted Brown Live at Pit Inn, Tokyo* on the Marshmallow label, recorded live in October 27, 2009 with a Tristano oriented group led by Yoichi Harai. There is a new recording from Ted's Japanese tour at this time: *Ted Brown-Gene DiNovi Live in Yokohama*, again on the Marshmallow label. This was a concert recorded on October 30, 2009, with Gene DiNovi (p), Neil Swainston (b), Ernesto Cervini (d). This group really swings, allowing Ted to get his flow going, which is something to hear. His sound is not what it was (82 at time of recording), but his lines tell beautiful melodic/ rhythmic stories. DiNovi, also in his 80's (He recorded with Lester in 1947!) is superb as accompanist and soloist, and the bass and drums complement the others perfectly, swinging, driving - no bullshit. It's a great recording... Just as a matter of interest, the Marshmallow label is worth checking out. It's run by Mitsuo Johfu, a dedicated jazz listener/ producer who has quietly recorded people like Duke Jordan, Herbie Steward, Bob Rockwell etc. over the years. His latest releases, apart from Ted Brown, are a Stan Getz compilation of obscure items from the 50's (Including Wardell Gray), and Zoot Sims with Dave McKenna, recorded live in Yamagata in 1977. Marshmallow Records is at - http://www.marshmallow-records.com - unfortunately it's mostly in Japanese, but I think you can get an idea of what he has. You can contact him by email if necessary - his English is very good. Q

I love Bird. I also love Fats - to me the greatest of the bop trumpets. I have heard people say something like the quote above before concerning Fats, but I have never really heard it myself in his playing. I know the Prestige date with Lanphere pretty well, which has take after take on the same head, but to me each of Fat's contributions are different. Again with the well known "Nostalgia" on Savoy, there are 2 superb variations on the same tune which are profoundly different. I'm not trying for a putdown, but I am genuinely interested as to what you had in mind when you say that ... Q

Notes (excellent as they are) are not the point. These are some of the most important recordings, as Larry knows. Bid/buy with this in mind! pjs

The Lester tracks will live forever. Q

There's a lot live Kenton available from '52-3 featuring Lee Konitz at his early peak. Now there are times when he seems to be struggling to be heard against the brass, but there are other times where he blows within frameworks of great beauty. Overall Lee seemed to enjoy the experience, and he was appreciative of Kenton. As he says in Andy Hamilton's book, "Stan was quite a gentleman, and I always appreciated the way he treated all the guys. I wasn't one of the drinking group at the back of the bus. But he was very respectful - just play good and cool it with the drugs, and show up!" Q

Addition noted with gratitude. Jamil Nasser was a giant, ask and I don't know that you shall receive BUT... Somewhere there is a long interview with Jamil talking about his friend and collaborator Oscar Dennard that everyone should hear-- dialogue and music-- seven or eight times at least. Dig The Memphis Mafia The good lady has it right mentioning Oscar Dennard... there was a cat who could really play... no AJ he! Q

Not only do you not know what it is, you don't even know that there's something been happening here, do you, Mr. Jones? Yeah Jim, Well it's not all dumb 2/4 shit but it's close - but where is Max, Lester, Bird and Warne Marsh? C'mon man, you're bullshitting! Q

It still seems fine to my ears. All in all it's a very fine production (IMO). Q

Just picked up this fine 4 cd production by Michael D Anderson. Essentially it's a history of Bird's life and development in the music during the period stated. What is unique about it is that there are interviews with many of the musicians involved in the sessions (Bird, Max, Bags, Roy Porter, Teddy Edwards, Howard McGhee, Earl Coleman); AND the chronological selection of the music is in the main from relatively obscure sources (Boris Rose etc.), all of it compelling, and some of it pretty rare (example: *Dee Dee's Dance* by the Howard McGhee group from the Hi-De-Ho Club in '47). The historical musical perspective includes the earliest known demo disc, the McShann Wichita transcriptions, Monroe's Uptown House 1942, Vic Damon Studios in KC 1942, The RedCross recordings, Cootie Williams Orchestra, Bird & Diz at Lincoln Square 1945, the 3 Jubilee Sessions on the West Coast, some of the Dial sessions, the Homecooking sessions (some of it new to my ears), the 3 Ulanov's All Star Modern Jazz Broadcasts etc. Anderson has worked as a musician, and produced "Bebop City" on Public Radio from 1984 - 1995 (I wish I had heard that!). There are 2 informative 32 page booklets, with session details, photos, historical references etc... I would have liked clearer personnel listings, but the information is there if you search for it. Re Bird's woodshedding incident, presuming the dates in the booklet are correct, it would appear that Joe Jones threw the cymbal at Bird's feet sometime in 1940, when he (Bird) was 20. Now, he already had a lot of experience behind him - and you can hear just how good he was later in the November of the same year in the Wichita transcriptions with McShann (Lady be Good etc.) - he could really play! Maybe there was more to Jones' action than music... or perhaps he didn't understand where Bird was coming from... For the Bird nut (me) this is essential in every way ... Q

Anything by Oscar Pettiford. Also check out Peter Ind on "The Real Lee Konitz" (used be Atlantic) - swinging, inventive, accurate... Q

Ah, nice post ... and then there are Bird's rhythmic choices... sometimes heard (by me) initially as vague somethings, until with repeated listenings something clicked (in my mind) ... and that understanding threw the previously half-understood line into complete and amazing focus... Early Lee (including the Kenton years) ... so different from Bird, and yet so creative, melodically and rhythmically ... and his use of space as part of his line ... what an amazing musical tale he could tell... Ernie Henry, with that flowing, tumbling rhythmic line. His sound approximated Bird's, but his conception was his own. The stuff with Fats in '48 was already mature ... his rhythmic conception approaching the bizarre ... and yet so right. Q

What brought that on??? Q