Quasimado

Why wouldn't he? Well, he seems to be the guest soloist, so I would have thought that would be what he was doing - but then again, as you say ... Q

Doesn't sound much like Howard to me ... the vibrato is too wide and there are none of his rhythmic mannerisms ... also whoever he is, he seems to be pretty used to playing in that Afro-Cuban style ... Reminiscing is intriguing ... no solos, but it could be Bird playing the lead alto part ... but then again, why would he do that? Q

Reading all this, it's not hard to see why the BNBB went where it went ... Q

It's a novel, based on facts and semi-facts that most admirers of Marsh's have encountered in one way or another ... BUT the author loves and understands the music... and he can write... the descriptions of actual playing on pages 146- 8 are remarkable. Hype does not apply here. Q

The CD is made up of 2 sessions; the Roland band from 1950, and a Red Norvo session from 1945. Is the Roland worth having? Well, it's fragments, - it's a huge band, and badly recorded, so the section lines blur .. but it's a band of Bird freaks - Maini, Lanphere, Ferrara, Bert, etc. so it has Legendary Value ... and there are flashes of great Bird... and, by the way, his famous quote "A Pretty Girl is like a Melody" actually occurs on track 13, not 14. There is also a brief interview between participants Eddie Bert and drummer Don Manning. The 2nd session from '45 is purely a swing session, which is no trouble for Bird or Diz, that being where they both came from. The final (?) take of Congo Blues has about the hottest Diz you will ever hear. For my ears overall this session has a little too much bowin' singin' Slam, and Red before he saw (absorbed) the light ... Bird is fine ... Q

That's a deep question. Are you talking about the *Charlie Parker with Lennie Tristano Complete Recordings* on Definitive DRCD 11289? If so, you would be advised to get it, because you get most of what they recorded together ... including Bird and Lennie on those tracks that were edited around in the *Bird* movie, which are beautiful in their original state ... plus... you get some fine Fats. Q

Not W.C.J., but Volume 1 (The WNEW Saturday Night Swing Session) has some of the best Allen Eager and Fats Navarro on disc... Q

Joe Albany *The Right Combination* - some of the best Warne Marsh on disc. Q

Exactly! Examples that come to mind are Lester Young on Lady be Good/ Charlie Parker on KoKo/ Warne Marsh on I'll Remember April (Xanadu) ... Q

The Xanadu LP has been issued and reissued in Japan as a CD by Crown Records - not sure if it is still available. Q

I'd agree with that assessment. Pity someone doen't release those other club dates. Rumor has it that Peter Ind has the originals or others from that period ... Q

You mean West Coast by a point, don't you? That's real indifference. Go Sydney Storm tomorrow! Q

"Isn’t it amazing that sound causes the idea to sound the way it is, more than the idea?” For great improvisors like Parker or Marsh, I would imagine that the sound is the idea. There is no separation ... So I'm not sure what Ornette's amazing distinction is. .. but then, I guess I just can't understand whatever it is I'm supposed to about Ornette in general ...

I'm always happy to hear Jazz Raga changes like Rhythm/ All the Things/ What is this Thing etc.... explorations on these are endless, if you can ... Q

Q

Problem solved. Heard from Jack Goodwin at the Warne Marsh site - apparently Ted Brown had a copy. The discography entry is amended as follows: 50-0300 HADDA BROOKS. NYC, c. March, 1950. Lee Konitz, as; Warne Marsh, ts; Hadda Brooks, p; unknown, b & d. 1 HADDA'S BOOGIE DLGF-50286 2:55 Warne Marsh and Lee Konitz are confined to playing written riffs on this track and do not play on the other track of this 78 record - “I Hadn’t Anyone ‘Till You” all R London 30116 Q

3 tracks of Zoot with the (once) brilliant, enigmatic Eager - released on Jazz Bank / Archives (MTCJ -1096) in Japan - recorded at the Village Lounge in DisneyWorld, Florida, 1982. Q

Don't forget *Chet Baker - The Improvisor* on Cadence ('83) ... and on Philology *Chet Baker Trio - Live from the Moonlight ('85)* ... Early or late, when he was really playing, he was up there with the greats... Q

Intriguing entry in Jack Goodwin's Warne Marsh discography - would anybody know anything about this? Q 50-0300 HADDA BROOKS. NYC, c. March, 1950. Lee Konitz, as; Warne Marsh, ts; Hadda Brooks, p, vcl (b), unknown, b & d. 1 HADDA'S BOOGIE DLGF-50286 ? 2 I HADN'T ANYONE TILL YOU DLGF-50287 ? all R London 30116

There were very few of the Lester tenors who made it unscathed in some way through the 60's and beyond due to the prevailing musical and economic forces. Warne Marsh was one that came through musically, but he had his own agenda. Then again, it could be argued that he was never really one to start with ... Q

He also did it for a couple of tracks with Lester live from Birdland '56 - Philology *Prez's Hat* vol. 3... Q

Just heard a tape of the *Twilight* track... beautiful, but no solos as such... sounds like Machito's orch. Would anybody know if it's Bird on lead alto? Q

Bird certainly did ... the Clifford disappoints me for the reasons quoted above. It's nice, because it's Clifford. But it could have been so much better ... Q

Go for the lady! Q