marcello

This last Saturday night, after listening to Geoffrey Keezer's Trio at the Kitano, Harold Mabern got up to the mike and said ( to Geoffrey's slight embarassment ): "I've only heard three geniuses in my life; Charlie Parker, Phineas Newborn and Geoffrey Keezer." Then they played four handed piano, on a song of Harold's. It was that kind of night.

I love Jackie Paris! I have this one, and it's fine indeed: 1.'Round Midnight 2.When I Fall in Love 3.I Have Dreamed 4.Detour Ahead 5.Everything Must Change 6.What I See in You 7.My Foolish Heart 8.I Can Only Pretend 9.This Too Shall Pass 10.Young and Foolish 11.Summer Soft 12.I'll Be Around

You have to support this music, for christsakes!

Alexander, The difference is that you own the food with no strings attached! Let your stingy impulses flower and encourage them to buy a copy. Jazz sales are so low, so dismal, that if you don't, there won't be any labels to record this music, and every free - burned copy that gets handed out, is another nail in the coffin. This is one subject where the Sage of Whitehall should be listened to.

I'm sorry, am I missing something? Peer to Peer file sharing of any previously issued music ( and yes, even if it is OOP ) is wrong and theft. That should be clear. No wonder why the live music scene is so dismal! Artists and producers ( and yes label owners ) do not live in a Utopian society that takes care of their needs. They work for it. Sharing live concert material is not theft. Although there are other that may see it differently.

I couldn't resist posting this from Doug Ramsey's: Rifftides: Comment: Philly Joe The Voice of America’s John Birchard writes: Your Philly Joe material reminded me of an evening back in the early 60s, a Monday Night at Birdland. Joe had brought a quintet into the club. Following the obligatory oratory by PeeWee Marquette, Jones—very clean in a hip three-piece Ivy League suit—slid behind the drums and counted off the first tune, one of those up-tempo bop jobs that discouraged amateurs from even thinking of sitting in. There's Philly Joe, with one stick tucked under his arm, adjusting the angle of the cymbals and tightening the head of the snare with his free hand while never missing an accent on the complex chart with his other extremities—and smiling a satisfied smile that said, (to me, at least) "I got this thing covered, baby, stand back!" And, at the exact moment the band reached the end of the head and arrived at bar one of the first solo, Philly Joe finished his fine-tuning, put the second stick in hand and gave his sideman a thunderous press roll as a launch pad. I couldn't help but laugh out loud at a terrific piece of show biz.

The latest figure I saw somewhere recently was 160,000.

The detail that Billt Hart talks about are pretty close to what I heard from bassist Steve Davis ( My Favorite Things; McCoy's brother in law ) sometime after the event. He held no grudge against Helen Morgan either.

This from Ingrid Jensen: Thursday night! Come on out and celebrate the release of Ingrid's Artistshare release of At Sea. Featuring: Geoffrey Keezer on Keyboards~Lage Lund on guitar~Matt Clohesy on the bass and Jon Wikan on drums and percussion. go to www.55bar.com for more details! or ingridjensen.com Happy New Year to all and if you are out of range of this gig, please check into my site (next week) for gig highlights and birthday pictures! peace, ingrid

I'm not too sure if this helps you. From: Roland Kirk Discography Project 1975 Rahsaan Roland Kirk Band Rahsaan Roland Kirk (ts, bass sax, fl, tp, stritchaphone, mzo, arr) Pat Patrick (bars) Hilton Ruiz, Richard Tee (key) Arthur Jenkins (key, arr) Cornell Dupree, Keith Loving, Hugh McCracken (g) Francisco Centeno, Metathias Pearson, Bill Salter (b) Sonny Brown, Steve Gadd, John Goldsmith (d) Lawrence Killian (cga) Ralph MacDonald (cga, per) William Eaton (arr) Regent Sound Studios, NYC, May 14, 1975? 30750 Conversation Atlantic SD 1674 30751 Bye Bye Blackbird - 30752 Horses (Monogram/Republic) - 30753 High Heeled Sneakers - 30754 Dream - 30755 Echoes of Primitive Ohio and Chili Dogs - 30756 The Entertainer (Done in the Style of the Blues) - 30757 Freaks for the Festival - 30758 Dream - 30759 Portrait of Those Beautiful Ladies - 30760 Dream - 30761 The Entertainer - 30762 Dream - 30763 - - 30764 Portrait of Those Beautiful Ladies - 30765 Dream - 30766 Freaks for the Festival - 30767 Horses - 30768 Bye Bye Blackbird - 30769 Conversation - 30770 Telephone Conversation unissued * Roland Kirk - The Case of the 3 Sided Dream in Audio Color (Atlantic SD 1674)

I don't mean to be nasty but........ Javon Jackson I could do without.

Lee Morgan didn't die on stage.

Like this one? Art Farmer: The Time and the Place

Earl Bostic In the late 1950s, Bostic suffered from severe heart problems and stopped performing and recording for nearly two years. He moved to Los Angeles and resumed performing intermittently in 1959, but he never returned to the pace of the early 1950s. He also returned to recording, but this time with a more laid-back kind of soul-tinged jazz. He died after suffering a second heart attack while playing a hotel opening in Rochester.

Looking back to the original question.......No. Another example is the Jazz at the Plaza recording for fans of the Miles/Trane/Cannonball group.

Joe Dukes is BAAAAAD! Is he still with us? I'm sorry, I see he passed away. This from Pete Fallico - April 1995: "The great drummer Joe Dukes passed away recently, and I mention this because I know how much Jack thought of him. Joe's contribution to the combo was immeasurable. "Back in those days," Jack reminds us, "there wasn't such thing as a rhythm section...Here you got nothin' but drums and organ, so the drums had to be a little more independent and not depend on a bass...The drums was the sole source of rhythm. If the drummer had good rhythm, the band felt good...and Joe had the hardest job of anybody. He had to swing and swing hard. He had to play funk. He had to play the shuffle. He had to play ballads. He had to play Latin, and that's a lot of hats to wear. "

"It can also be, in the right hands and in the right circumstances, and extremely comfortable "social" music as well, and for that, it needs nothing more than to just be what it and its audience both are. I'm not at all bothered by that, and actually think that the overall health of the music is served by having that "social" sector of the music functioning as actively as possible." We better hope so, to keep this music alive. The people in this particular club, on Saturday nights especially, came dressed to the nines and ready to have a good time. The women came in furs, even if it was just a collar fur, the men wore suits and the hippest shoes. they were mostly working class people who cam in with groups of other that maybe were members of their social clubs or churches. Going to clubs, and digging this music, their classical music, was a part of the fabric of their lives. To tell you the truth, when that audience went away, it was the start of the bad days that Allen refers to. They spent their money and were happy to have some entertainment. They didn't just wag their heads and shout encouragement to the band. Yes, there was plenty of that but they also appreciated the more heady music too. I remember once when Eddie Harris played there; after he played a series of songs that were quite advanced, almost avante-guard, he announced: " Now that I've played something to feed your mind, I'll play something to feed your soul", and got their asses groovin'.

That's where we differ here; Cannonball , to me, he had a style all his own.

I've been fooling around with this also. I think this is another great way for a artist to be recognized and heard. Pandora

I heard the Cannonball band quite often in that peroid because I worked in a club that hired them often. Their energy level was really quite high. "In practice", they worked and communicated very well indeed.

Two and Four is Ned Otter's label who has been playing in NYC for over 25 years and was once a student of Big George's. All of the rest of the players are current on the NYC scene and have recorded often.

American- Digital

The 1958 Newport concert was given a nasty review in Down Beat at that time and states that Coltrane is a bad influence on Cannonball!

Uh.... we got that loud & clear and every which way from Sunday, Allen. Chuck's recomendations ( especially "Take the A Train" / Black Lion ) are retort enough. The next time Chuck.....a little sooner please, huh?