marcello

I agree Chuck! I have that one put aside to burn on my CD recorder, I once saw the Junior Cook/ Bill Hardman group at the New York Jazz Museum. The band included Mickey Tucker on piano and Billy Higgins on drums. They played a mean "Jordu"! And yea, Hardman was small. About 5' 5"? Bill Hardman HOME: Yoshio "Chin" Suzuki Bass Victor Jones Drums Lawrence Killian Percussion Junior Cook Sax (Tenor) Slide Hampton Trombone Bill Hardman Flugelhorn, Main Performer, Trumpet Mickey Tucker Piano

For what is's worth, I've had a Linn for 22 years and not a problem. Besides they made some nice recordings with Tommy Smith like "Bluesmith" Tommy Smith : Tenor saxophone, soprano saxophone John Scofield : electric guitar James Genus : acoustic bass Clarence Penn: drums

There was a time, om the early to mid '70's that I saw Buddy in a Quartet with Illinois J., Jimmy Mc Griff and I cant remember the 4th player. I might have been a guitarist. Staight ahead swing small group playing. There was a record with Buddy, Zoot and Bucky P. that I used to own on Groove Merchant. The trio music that he used to play with Kiener was swing piano trio music; with a modern approach, of course. Besides "Autum Leaves" they also played " La Fiesta" and such. The comparison to Tough is correct to some extent but Rich has WAY more chops. Maybe we should go back and listen to those Lester Young recording with Lester, Buddy and Nat Cole and compare those to Tough in a simular setting. Any idea's, Allen?

If this reference is to a live taping in Toronto, I was the one that recorded it for broadcast on CJRT-FM. At least five years ago Barry's father learned I had done it, and called me about it. I sent it all to him (about 90-100 minutes of digitally-recorded solo work) and then never heard anything more. I thought it was releaseable music--I made a cassette to listen to in my car--but I guess the Kieners didn't. Yes Ted, that is the recording I was talking about. I have a cassette copy from the Kieners. Those masters are sitting somewhere in his brother Steve's house gathering dust. I talked to them about helping getting it released but brother Steve has dropped the ball. I's a very fine performance. Maybe you can contact John Norris about that piece he wrote about Barry?

I will go on record as saying that for the most part, I really dig Buddy's band. I think in the late 70's/ early 80's he played a few too many funk charts for my liking, but otherwise, his book was very deep with many strong charts by excellent writers. I have to respectfully disagree with several of the points marcello makes: About keeping soloists: Pat LaBarbera for 7 years, Steve Marcus for 12, Andy Fusco for 4, Barry Kiener off and on for nearly 10. Not bad. Ballads: Every set Rich played included at least one ballad. Here are several which come to mind and which have been recorded: "Alfie" featuring Art Pepper; "'Round Midnight" featuring Marcus: "Lush Life" featuring Rick Stepton; "If You Could See Me Now" featuring Andy Fusco; the middle section of "Channel One Suite" featuring Don Menza and later Marcus. In fact, every one of the big suites Buddy played (Channel One, West Side Story, Tommy, Good News) included a slow ballad section. If you are interested in the artistry of Buddy Rich the recent DVD "Live at the Montreal International Jazz Festival 1982" is a must-see. There is a remarkable chart by Joe Rocissano called "Brush Strokes" in which Buddy plays soft brushes throughout with the band (not just the trio); plus the aforementioned "If You Could See Me Now". QUOTE=marcello,Jan 20 2005, 09:31 AM] Thay band only existed as a showcase for Buddy's talent. That's one of the reasons that he could not hold soloist for very long. John, I should explain a little further; as you point out, he did keep some players for a long time as your examples show. What I ment to say that the vast hordes of other players that went in and out of the band were quicker to flee his band than they were the Herman and other bands operating at the time. He could be VERY difficult to work for! After I wrote the comment about ballads I remember that I was wrong in that he did play them. I must say that most of the time they really had boffo endings! Allen Lowe, you guessed it. That would have been Barry at that camp and like a lot of child prodigies, he could be full of himself, for sure. In 1967 he would have been 11 or 12! Oscar Petersonish at 11 or 12?! Like I said, he was brilliant! AND he could play the Blues! Europe 77 Chuck Schmidt, Dean Pratt, John Marshall, Danny Hayes (t); Matt Johnson, Dale Kirkland (tb); Edward Eby (btb); Chuck Wilson, Alan Gauvin, Steve Marcus, Gary Pribeck, Greg Smith (reeds); Barry Keiner (p); Tom Warrington (b)

JSgnry, Yes, I understand now. Thay band only existed as a showcase for Buddy's talent. That's one of the reasons that he could not hold soloist for very long. If you remember when yopu saw the band, when Buddy took a solo, EVERYONE in the band had to turn his head and keep his eyes on him. I mean they were ordered to, no matter how much they dug him. That alone let everyone know who the star was! Now that I think of it, I don't remember him even playing a ballad. When Barry was in the Band, there was a regular Trio feature ( Barry picked the songs ), and Rich played with brushes very often. That was as soft as he got! Hell look at the names of his bands; "Killer Force, "The Big Band Machine" etc.! You can almost smell the locker room sweat. So you have to dig the music with this in mind: you have to dig Buddy!

As I have mentioned before. there are only 5 fulll time Jazz stations in the U.S The closest one to you route was WGMC in Rochester, but alas, you can't get it in Buffalo. During the day most stations that carry Jazz programing, are NRP stations and carry those shows during the day. WGMC is not a NPR station.

This will be a hard post for me. As you may know, Barry died very young ;while on the road with Buddy as a matter of fact. He was brilliant. One of those few really brilliant people there are in the world. Could master almost anything with his acute power of consentration. There was a time when he played in some Dixieland group as one of his many varied gigs. He immersed hinself in a study of James P, Fats, George Lewis, Pops and Jelly Rolls and came to master ( not imitate ) their styles. He came to own "The Millenburg Joys" and "Handfull Of Keys". He did the same with his other heroes like Bill Evans, Tatum, Herbie, Sonny Clark, Carl Perkins, etc. I still measure pianists that I hear today by his standard. He really was a giant talent; exciting, funny, inventive. Buddy, of course, loved him. It was during the times when they were together that Buddy took on more staight Trio gigs.; both with symphonies and T.V. Barry could challenge him and play WITH him as a equal. Barry Harris, Tommy Flamagan, Mel Lewis, and Al Cohn and othersalso dug him and sought him out to play for them. Once, when Joe Venuti was playing in Rochester, our hometown, he couln't stand that local trio he was saddled with. On opening night of a two week stand Barry and I were in the audience and on a break we said hello. Joe didn't know Barry, but he was eager for relief and invited him to sit in. After one song Joe was so happy and having fun! Barry played the rest of the night ( Joe had asked the regular pianist to take a long, long break) and Joe asked us how often he could come back to play. Barry came every night that he could and the regular pianist took another long, long, break. I remember that Lin Biviano band ( Biviano played with Basie). it also had our great friend Joe Romano in it and Steve Smith, the drummer. There is a whole generation of players that came up with Barry; mostly in the big bands of Rich, Ferguson, Kenton and Woody Herman. he was a influence on a lot of them and still speak of him with awe and wonder of his talent. Thank God that I have many private tapes of him in all kinds of formats. I think it is poissible to get the two recording he made. The best is a duo recording with bassist Frank Pullara, recorded live. He also made a solo recording but it has never been released. John Norris of Coda magazine and Sackville Records wrote a fine piece on Barry just after he passed in '86. I wish I had it so I could post it here. If anyone else has anything to say abiut Barry Kiener, I'd like to see it here.

O.K..... This should apply because he is not known as a improviser but as a master of the instrument....... EARL BOSTIC I have a couple of King 10"ers that are a blast to play. You should hear him play"O Solo Mio"!

I'm not sure what to make of your post but I saw Buddy play many, many time as my best friend, Barry Kiener, was his pianist on and off for 10 years. Buddy never, ever played a set when he was coasting, not at least, one that I saw. EVERY solo he played was a marvel and swinging and I believe that he just cound not put everything he had into each one. A HUGE ego, to be sure, but he did have high standards to go along with it. For what he did, and it was unique to him, he was the best. Does that make sense? These days, I miss him. Here is a photo of Barry and Buddy:

My God Mike, weren't those a couple of ureadable stinkers! Almost as bad as the Grant Green. The point here is for the little insight that those above provide, it hadly is worth the effort to read much less the harm they do, by "muddying" the artists' personal and professional history. If biographies are to be written, they must be AT LEAST factual! Now, one writes from pure, personal point of view, it's another matter, insn't it?

I don't believe that Garrett can be labled as "overlooked" in any way!

Allen - What happened to Neloms? I totally agree with you about him. I have another that has not been heard of from sometime: Mickey Tucker!

Art Farmer - The Time and The Place

In addition to all of the above, I was wondering.... why didn't he mention"The Queen Suite" but he DOES mention "The Goutelas Suite" which, to my ears, is far supierior? Does he have something against the Queen too? Wrong side of the pond, I guess! I don't mean to state the obvious here but, my God, didn't Ellington have class?! He writes a fantastic work and records it, makes copies only for the Queen of England as a tribute and present, and then will not let it be released while he is alive. A man of measure that Crouch with his pompus blabber and Wynton with his facile and limp "recreations", should not compare themselves to

I did'nt mention Barry Kiener because his career ended while on the road with Buddy's band in 1986. Barry was my best friend and is sorely missed. A rare artist rememberd by all that he touched.

Sonny Rollins in Japan (Victor [J] SMJ 6030) Sonny Rollins (ts) Yoshiaki Masuo (g) Bob Cranshaw (b) David Lee (d) Mtume (per, p) Tokyo, Japan, September 30, 1973 Powaii St. Thomas Alfie Moritat (aka Mack the Knife)

Ricky Ford - Hampton & Mercer Ellington Branford Marsalis - Hampton Billy Harper - Thad & Mel Gregory Herbert - Thad & Mel Ray Drummond - Thad & Mel George Maraz - Thad & Mel

Here is a start: David Finck - Herman Joe Lovano - Herman Tom Harrell- Rich Peter Erskine - Kenton Jon Faddis - Thad & Mel Pat La Barbra - Rich

KK has the id on the Woody Shaw photos under them but that is NOT Clint Houston on bass but Strafford James. So it is : Carter Jefferson on saxophones Onjae Allan Gumbs on piano Victor Lewis on Drums Stafford James on Bass Woody Shaw on Trumpet I saw this group many times! The same band is on "Stepping Stones", except Clint Houston IS on the record. KK's program must have had this line-up. 1. Stepping Stones 2. In A Capriconeian Way 3. It All Comes Back To You 4. Seventh Avenue 5. Theme For Maxine Woody Shaw(tp,flh) Carter Jefferson(ts,ss) Onaje Allan Gumbs(p) Clint Houston(b) Victor Lewis(ds) Recorded Aug 5-6,1978

The many different levels of "participation" is one of ArtistShares ways to make the expierience of buying music from them special. I , for one, don't see how much real money they generate for their artists this way. Many artists are watching and waiting. The start up fee is quite expensive for the services that they offer to the artist such as this and other packages that they put together and the web site. Futhermore, the whole idea of downloading the recording in a MP3 file, if you choose so, is not for me, at least!

Re: Woody Herman pic: Looks like it may be Birch Johnson on trombone.

I have a copy of Joe Locke/Geoffrey Keezer Quartet -, "Summer Knows" from Eighty Eights (Japan), that has the woven fiber sleeve. The first time I ever saw it. Does anybody know of other manufactures that use this type of sleeve? Eighty-Eights

Thanks to all who helped me with inability to hook up my Denon C550R recorder. All is well as I just made a cd of Dexter Gordon - The Jumping Blues !

Thanks Kevin, for trying to help. I Do have the components running trought the pre-amp, though. I have a Bryston amp and pre-amp, a Linn turntable and a NAD tape deck. Maybe I'm making this more comlicated that it really is? Your help is welcome! Tom Marcello Deneon DNC 550R link