Quasimado

Yeah ... he wants more bread. Q

Is this where it is? Q

Some great music mentioned here ... Been listening to the Mosaic Dean Benedetti Bird CDs recently. Standouts for me at the moment are *Sweet Geogia Brown*, No. 19 on disc 1 - that pure, inventive, swinging/ driving *Lady be Good* feeling... and *All the Things You Are*, no. 13 on disc 5, where Bird's reinventions after Kenny Hagood's vocal are simply unbelievable ... Not to forget *Lester leaps In* and *My Little Suede Shoes* from the Rockland Palace session ... Q

Been listening to the Dean Benedetti Bird CDs this week. Standouts for me at the moment are *Sweet Geogia Brown*, No. 19 on disc 1 - that pure, inventive, swinging/ driving *Lady be Good* feeling... and *All the Things You Are*, no. 13 on disc 5, where Bird's unbelievable reinventions after Kenny Hagood's vocal send shivers down the spine ... Q

... and the LP *Bird Is Free* is incredible ... unbelievable saxophone playing (Lester Leaps In - My Little Suede Shoes etc.) ... Davey was in school for that, too... Q

Interesting article. No doubt Lennie's widely reported mouth (rather than actions) caused many of his problems. I presume the divisions are still there ... Q

Phil gives us Bird 5 days a week - and he loves and knows what he is talking about. Can't ask for more than that... It's the most amazing show on radio. Q

Great news - many thanks. Q

I've checked but can't seem to locate this. Would anyone know if it was released? Q

... or to feed their obsessions. Q

Niko - that's remarkable! Jack Chambers has this to say (from his article): "As for integrity,some of the toughest minds among Zieff’s contemporaries wilted and ended up pandering to pop tastes, most notably Miles Davis but also Donald Byrd, Freddie Hubbard, Herbie Hancock and numerous others, even Gil Evans. Zieff escaped all that, and the price he paid, though he may not consider it a price at all, was to live a quiet, scholarly life, feeling the affection of his students and the admiration of the part-timers —doctors, salesmen, and mostly (like him) teachers — he recruited to play his uncompromising music." Chamber's Twardzik book seems almost as obscure as Zieff. Q

Interesting read. http://langtech.dickinson.edu/Sirena/Issue2/Chambers.pdf Q

Lennie Tristano was pretty effusive about Freddie's playing through to the mid 60s. A quote from Shim's Tristano book, " ...It's about in '59 when Freddie started to record. Oh, I would say for six or seven years he played a lot of great music ... I like to say that Freddie Hubbard, in my opinion, is one of the great musicians to come out of the 60s. Absolutely. And of all the people who've been out there making it, in my opinion, he is the greatest. And I'm not speaking about Freddie in the last seven or eight years..." The only thing I have him of him is on Kenny Drew's "Undercurrent" with Mobley, and he plays fluent, swinging jazz trumpet, although I would have liked to hear him on harmonically richer, more varied material. I heard him live in Honolulu in the mid 80s with a band led by altoist Gabe Baltazar, and he played great ... although towards the end of the night he began to obviously ride Gabe, a local favorite, who was playing pretty well. That kind of put a chill on proceedings ... but he could play, no mistake. Q

Great site! Q

That's pretty harsh. Unfortunately, for some reason the saxes (certainly Marsh) don't solo on the studio recordings. However live, this was a hell of a band, a bunch of fine musicians who loved, understood and could play Bird's music ... which is real "musicians" music, a joy and a challenge to play... that's why they did it. Live they would do the heads and Birds solos, and then the featured saxes would solo, usually for at least two choruses, often more. As most admirers of Marsh's music know, there are lots of tapes out there of Warne with this band that are unbelievable. Q

As good as jazz-with-strings gets. Make of that what you will. Sorry, don't agree. Some of the string writing is nice ... and Art plays reasonably well... but then you also have 2 beat on some tracks ... and Art was never in Bird's league. Q

Maybe "deadly" was a bit harsh. I know we have Warne Marsh in common. It seems a long way from there to here ... I realize he's now in the past, but that kind of aesthetic value (from out of the tradition) doesn't come easily or often, nor is it easy to shrug off. Anyway, I'll try to catch her next time she's in town ... gotta get out of the wax. Q

Sorry, but I don't just see the interest here. I'd give the tenor credit for doing his best on a deadly background. What is the attraction here - the vocal, the message? Q

They're after Ella, too ... Q

Finally tracked down the Dizzy Orchestra at Chester, Penn., 6/57, on the Jazz Unlimited label. This contains 3 solos by Henry. The longest, *Dizzy's Business*, is a potent, stark reminder of his talent and originality. Great Diz, great band, great soloists including Lee Morgan, Billy Mitchell, Benny Golson etc. Q

It was part of a series of 20 lesser known Atlantics, put together by 2 identities on the Japanese Jazz scene. Release of the series was originally planned for November, then put off till January. Now the Warner Music Japan site says release has been postponed. I can't imagine it will just disappear, as it had some publicity, and the compilers are well known ... Q

How about the reviewers who gave these disasters the thumbs-up? There's a whole bunch of them quoted on his page. It'd be funny if it wasn't so sad ... Q

You're a bundle of laughs as it is, Allen. Q

It was decided that Scott was not welcome. Q Any idea why not? I like his work. Some members obviously don't. He had the sheet kicked out of him. Q