Quasimado

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

It was decided that Scott was not welcome. Q

Couldn't agree more ... I STILL remember when I first heard it, well over 40 years ago now... like hearing the Voice of the Cosmos ... (may have had a little something at the time) ... Q

Q

While you're at it, don't overlook Jazz at the Concertgebouw, The Complete 1955 Concerts in Holland, put out in the Dutch Jazz Archive Series, which has the quartet with Twardzik, just before you know what... Imo, some of the finest early Chet on disc ... (just one CD, and a very fine production). Q

There is more excellent Henry with Navarro on Savoy in 1947. It seems to me that his style was essentially fully formed, even at that time. The sound comes from Bird, but his rhythmic- linear conception is all his own. His line on *Tadd Walk* is a good example - expressive, swinging, he is able to somehow manipulate his horn to play it exactly as he conceives it, in all its quirkiness ... quirky to the point that at times it seems about to go off the rails ... Apparently he was part of Monk's working quartet in 1956, which would have been worth hearing ... While very different in conception, there appear to me to be some surface similarities to Ornette in his playing, a point I think I remember Larry also making at some time... Q

Check Dusty Groove... Recent releases are in fact re-releases of early King Records sides (50s/ 60s) featuring drummer Hideo Shiraki & group (5 CDs) and vocalist Chiemi Eri (3 CDs). Q

Been there ... takes a while. But ... amazingly, New, Better things happen ... Q

Just listened to *Sonny Stitt Sits in with the OP Trio*. That's a hell of a level of musicianship! Thanks SS, OP. Q

It sure sounds fine to me. I remember being a little startled when I heard his *Fable of Mable* on Storyville (1954) for the first time - Serge's sudden surges(!) of volume and wide vibrato, together with Twardzik's kind of spooky comping on the title track took a little getting used to. Blue Serge is much more a (classic) bebop session. He was certainly his own man! Q

He's all over the horn - has complete control. Do you mean he's playing out of tune? Not to my ears, although his vibrato is wide at times... No offence, but if Ornette or (early) Archie is your standard, we may hear things differently ... Q Thanks for your response. I shall have to consider the wide vibrato issue. As to my standard, I guess you could say Bird/Lester/Marsh/Wardell/Fats/Bud/Tristano, etc. Q

He's all over the horn - has complete control. Do you mean he's playing out of tune? Not to my ears, although his vibrato is wide at times... No offence, but if Ornette or (early) Archie is your standard, we may hear things differently ... Q

Details of 42 tracks recorded by Peter Ind at this Half Note gig (including changes for most, IIRC) can be found on Jack Goodwin's great Marsh site/ discography at http://warnemarsh.info. (And it's in the public domain!). Q

Make sure you get it right (from your kids or whoever)... we're desperate not to be Beards! Q

Thanks Brownie. I'll track it down. Q

How are the Ernie Henry solos on (any of) these ... any recommendations? Q

Thanks for bringing these videos to our attention. Here are the links: http://www.youtube.com/watch?v=ilezfXEtcag...ted&search= Beautiful. Q

Lee expresses the highest regard for Marsh's playing. "...the definitive creative player, no theatricality, no showboating, just a true musical improvisor..." He expresses some admiration of Pepper's early playing, but is critical of his later work. Q

All great information. Thanks a lot. Q

Thanks for that. I did do a search, but to no avail ... any details re the recording/ tape? Q