marcello

Some of this guy's playing I like; some I don't:

Isn't a little stange that two artists, who recorded prolificaly and came up in the same era, in the same Be-Bop scene, didn't record more together? ....but look; I found this from a French site: Stitt & Bags Concert

Thanks Rostasi! I just downloaded Audio Hijack and burned a song off a DVD on my Mac.

How about this? Lord Nelson (Sonny Stitt) And his Boppers Willie Wells or Russell Jacquet (tp) Sonny Stitt (as) Milt Jackson (vib) Will Davis or Sir Charles Thompson (p) Jimmy Glover or Ray Brown (b) Dave Heard or Max Roach (d) Detroit, MI, June, 1948 * Milt Jackson, Sonny Stitt - In the Beginning (Galaxy GXY 204; Fantasy OJC 1771, OJCCD 1771-2)

Allen, this I agree with ( and do many others ) and I'm not a musician. Really Clem is harmless if you don't let him get under your skin. I enjoy both of your posts, to a great extent. Why don't you just ignore him instead of pleading for intervention? I mean when it comes right down to it ( especially in a internet forum) it's just one man's opinion! And I like Frisell, for/in the right situation.

I've got these: Joe Henderson - Live at the Lighthouse Radio - 1970's 1. Unknown Henderson 2. Round Midnight 3. Round Midnight Coda 4. Unknown Henderson #2 5. Invitation Joe Henderson - Tenor George Cables - Piano Steve Erquiaga - Guitar Ratzo Harris - Bass Mike Hyman - Drums Joe Henderson & Joanne Brackeen Trio Monmartre Jazz Club Copanhagen, Denmark 1/29/86 1. Invitation 16:25 2. Round Midnight 6:53 3. Inner Urge 11:05 4. Track 04 10:31 Joe Henderson - Tenor Joanne Brackeen - Piano Kim Clark - Bass Keith Gillgo - Drums

If I recall, it was a single LP from England that was a reissue of "CH Encounters BW". The 2-fer that combines this session with Associates was called "Tenor Giants", I believe. ← That's correct Jack, I have a of copy Blue Saxophones on LP.

I have to admitt that I was at the Watkins Glenn concert with a girlfriend, who was a fan. I remember that The Band were very good and played second to the Dead, who I didn't see much of by the time I got to the front, but what I heard sucked. I was about 100 feet from the stage so I had a good view and could hear well. They played better than I thought they would as I never saw them live. I remember Phil Lesh dancing to the music between the amps; really digging it. After their set, the Allman Brothers played. What I really remember was after the Allman set, there was a jam session. Not much really happened as it turned into a Dead jam, but I recall Manuel just standing there drinking from a quart bottle while everyone played. At one point Jerry Garcia picked up a tamborine and tried to give it to Manuel, who looked at it for a while in Garcia's hand as if he was handing him a plate of dog shit. Then, all of a sudden, he tossed his half empty bottle into the crowd, grabed the tamborine, and played the thing like his life depened on it.

If you had the choice of royalities of a record that may sell a couple of thousand copies at a low rate, or taking a upfront fee that is much more than the union rate, what would you do? Even today, unless you're selling in at least the mutiple thousands, there is no contract for a royality rate. Not in my circle. Hell, there is rarely a contract at all! I would assume, that in the case of Jutta Hipp, that it may have been a matter of preventing a lawsuit from a living artist or, in her case, she opted for a royality payment instead of a larger recording fee. Does anybody have any concrete knowledge of the Blue Note contract or agreement? I bet there was never a contract at all. Part of Morris Levy's "business plan" was to put his name ( or own the rights to ) all the songs he could. Publishing is the gift that keep on giving, especially when he had all of those vocal groups in his clutches. The Blue Note owners never did that, to my knowledge. So when Lee Morgan and Horace Silver came to them for a better deal, could they really afford it? I mean, how much money do you think they could make of those Dizzy Reece records?

This one deserves to be on CD:

Geoffrey Keezer also lives there. I know it used to be the sticks.

Shirley Temple Black?

What makes a jazz classic? Tommy Smith brings you the stories behind the notes of such standards as 'Night and Day' and 'A Night in Tunisia'. Tommy Smith - Jazzlines on BBC

Lauren Camp, who is a fabric artist and a DJ at KSFR in Sant Fe, does some nice work. here is a example and her website:The Fabric of Jazz

Has anyone heard this? John Martyn - guitars, vocals Spencer Cozens - keyboards, synth bass Alan Thomson, Dave Ball - bass John Henderson, Arran Ahmun - drums Miles Bould - percussion Andy Sheppard - soprano saxophone Joe Locke - vibes Jessica King - backing vocals * Hole in the Rain * Annie Says * Jack the Lad * Number Nine * The Cure * Same Difference * Father Time * Call Me * CoolTide

I have "Now Hear This" also; a great date!

Sure, but it's the Alumni tag that has me asking. They could just call it a Tribute band, but best of luck to them.

Marketing in jazz is needed but..... Outside of John Lee, what makes these other players Dizzy Alumni?

My6 wife and I saw him about three years ago at a Eastman Pops concert in Rochester and he was very enjoyable. All the women were singing with him on "You're Gonna Miss My Love" and dancing in their seats. He had a wonderful guitar player with him, with a unique sound, that played some pretty modern, funky solos. A older guy whose name I didn't get. Was he with him last night?

The lyrics to "A Child is Born" by Thad Jones: (these are the original lyrics by Alec Wilder) Now, out of the night; New as the dawn, Into the light, This Child, Innocent Child, Soft as a fawn, This Child is born. One small heart; One pair of eyes; One work of art, Here in my arms, Here he lies, Trusting and warm, Blessed this morn A Child is born. A Child Is Born - Composer: Thad Jones - ©1969

Also known as the Joe Locke / Geoffrey Keezer Quartet Here's a photo from the recording session: Bob Hurst, Geoffrey Keezer, Billy Kilson and Joe Locke Do you have a Hiroshi link that you can share?

This, from Larry Appelbaum, via the Jazz Programers List: While I'm very happy that the Monk-Coltrane CD is attracting so much attention, I'm surprised and occasionally peeved by the number of journalists who make careless mistakes, or worse, simply make things up. I can't even count how many interviews I've done via email where the writer still misspelled my name and got facts wrong. Even some of the leading jazz publications are guilty of this. Another example; this article above is from the Hollywood Reporter, a presumably reputable publication. Yet the reporter never contacted me, so where did he get the idea that I'm a Library of Congress "researcher?" Perhaps from an article two weeks ago in the Washington Post by Matt Schudel? I was surprised that in my own home town a reporter from the W.Post writing about this didn't even lift up the phone to get a quote or to check my job title. And I know he has my business card because I gave it to him myself at a concert earlier this year. So, one reporter makes a mistake that gets published, then others start repeating it. It reminds me of the oft-repeated mistakes stemming from Leonard Feather's Encyclopedia of Jazz, or the fact that for 30 years people have been insisting that Andrew Hill was born in Port Au Prince. Don't get me wrong, in most cases it's just publicity and anything that turns people on to good music is a good thing. But sometimes, for better or worse, publicity that gets published becomes a part of the historical record. While I am occasionally referred to as the Library's jazz specialist, my job title is actually Senior Studio Engineer/Supervisor. More specifically, I am the Supervisor of the Magnetic Recording Laboratory in the Division of Motion Pictures, Broadcasting & Recorded Sound at the Library of Congress. Now, back to regularly scheduled programming. Larry Appelbaum (not Applebaum) WPFW-FM

".....and the beavers could also help keep waterways clear of debris." Actually they build dams that block streams and creeks that cause flooding. In New York State they are happy to provide permits to "trap" beavers that cause blockages. Those traps are set out and then checked two weeks later. Usually, in those two weeks, those beavers either drown or starve to death. It's a way that the State uses to avoid the stigma of shooting ( thus outright killing ) beavers. If people think they are just trapped, it's humane.

The Kid in White has more Natural Soul than most pop performers I've seen in a while!

In no order at all and on vinyl only: In My Prime Ugestu Olympia Concert Meet Me at the Jazz Corner of the World - 1 & 2 The Big Beat A Night at Birdland Vol. 1 Kyoto Art Blakey and the Jazz Messengers (Savoy) Keystone 3 Mosaic Three Blind Mice Art's Break Jazz Messengers '70 Moanin Anthenagin Reflections in Blue Caravan Oh-By The Way S'make It A Jazz Message St Germain - 3 Volumes A Day With Art Blakey - 1961 Hard Drive Hard Bop Live at Bubba's Jazz Messengers ( Impulse) Indestructable Free For All