Quasimado

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

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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

Clifford and Bird were both active in the early 50's and their paths crossed at least once, probably more. Yet, to the best of my knowledge, there are no records/ tapes/ films etc. of these two working together ... and that is in itself remarkable, considering who they were, and the company they kept. Surely there must be something ... Q

I'm not sure what you are getting at... What has Bird got to do with this? Q nothing too obscure about the comparison... too many takes of the same music, same stuff all over again and then once more... Sorry - it seemed like chalk and cheese to me ... but reading Howard Mandel's review I see I'm the last of the dinosaurs. Q

I'm not sure what you are getting at... What has Bird got to do with this? Q

Should be in Re-Issues - my blue. Q

A new Tristano double CD including the long unavailable *Descent into the Maelstrom* has been issued in Europe. It seems unfortunate that those holding the master have not made this public in the US (along with unreleased material). One wonders what Jazz Records is waiting for. Q