marcello

I've recently heard a live tape of the Brown/Roach Quintet (w/Sonny Rollins) that has never been available. In fact, it's never been out of the owners hands until recently. The sad truth is, although the tape has very good sound, there are incomplete selections. In fact, only two selections are complete. The owner may not sell since he can't fathom why his price can't be met because of the incomplete songs, so it may never see the light of day.

Happy Birthday, Jeff!!

You should really hear the Joe Locke/Mark Ledford version, Tom. You'll really like it: It's also on this Woody Shaw:

In my Fred Sanford voice: "It's White, Dummy!"

Re: the topic of commercials: Bassist, Producer David Finck told me a story this weekend about doing a Tidy Bowl commercial he was on, when the represenitive of the company wasn't satisfied with the music he said something like " I need more blue!". He wasn't talking about the Blues either!

Chuck, I think you should be fine to fly tomorrow as long as the flight stays scheduled. The worst of it here in the Rochester area, will be over by 1AM. All the best to you and the family.

What about the Barbarins?: "Isidore Barbarin began with the cornet as a young teenager: the year was 1886. After taking up alto horn he marched forward with the Onward Brass Band but was also involved with other brass groups. I Isidore Barbarin had to wait quite awhile to get his sound on record. By 1945 there was finally some evidence of the man in discographies, courtesy of bandleader Bunk Johnson. Some musicians naively call their records their children; perhaps this artist's actual acts of procreation have meant more to the history of jazz than his time in front of a microphone. He produced four children that became musicians: Paul Barbarin, Louis Barbarin, William Barbarin and Lucien Barbarin. Furthemore jazzman Danny Barker is his grandson."

Freddy Keppard) and Louis Keppard (brothers) I just happen to be re-reading the Pops Foster book. Just about everyone in New Orleans was related to each other!

How do you do that? And thanks Big Wheel. Next to the home button, there is a drop down list. Click on "Privacy settings" and edit away.

Mills, brought much recognition to Duke and promoted him as a sophisticated performer and composer. What Duke had to give up for that promotion, was his business. Read this book, for some honest insight to their relationship:

No problems here, and I have a a Mac, Safari and Facebook. I think Big Wheel has the answer. Frankly, I turn off just about all of the 3rd party apps on Facebook.

Happy Birthday, John!!

Berigan is right but I feel the pain as much as you do, Dave!

"Such Marsalis pastiches as the oratorio Blood on the Fields (1997), the suite In This House, On This Morning (1993) and the ballets Citi Movement (1991), Jazz (1993) and Jump Start (1995) seem to come from a strange alternate universe --one in which some of the surface gestures of Duke Ellington have been filtered through the toylike sensibility of Raymond Scott." I love this quote, Larry ( and I just finished re-reading your book)! To bring you up to date in the helium filled atmosphere of Wynton's most "serious" projects, he has been in town lately rehearsing a new collaboration with Garth Fagan's Dance company, so another helping of "Citi Movement" is in store you all of you fans. There is a debut here in November. Fagan is a visionary, but he's susceptible to ass kissing as anyone.

Both Allen and Larry speak the truth. Regarding Larry's questions: I'm sure being a not for profit had a lot to do with JALC being in that building because tax advantages that are possible. JALC does have jazz education programs that employ working musicians and other outreach programs based there, but they are staffed by many FOW (Friends of Wynton). Like any large corporation, there's a lot of ass kissing that goes on there. Having said all of that, I love to go to Dizzy's, one of the great world wide jazz venues, when the music is right and to see Toddy Bear, and the other concert venues are state of the art with sometimes wonderful programs. The Rose Theater, by the way, is named after one of the developers. I also think that Wynton can play the shit out the trumpet, but he's no innovator or gifted composer.

Sal Amico from Syracuse! He's on that great Sal Nistico record; "Comin' On Up" Hey, I found another photo of that group The American Jazz Quintet: f.l.t.r.: Roland Ashby - Sal Amico - Jimmy Wormsworth - Barry Rogers and George Braith. ( photo: Jimmy Wormworth archive)

Yeah, I love "Fine Brown Frame"! http://www.youtube.com/watch?v=Ozw_RdYFQ8U

Me too. Where did you find that?

Thanks, I'll have to check these out, but with just a little Google: [here another small group MacFarland date w/Bill Evans, Jim Hall, and Spencer Sinatra.]

There's this one also, that I have: TADD: The Life and Legacy of Tadley Ewing Dameron

I'm not sure if this answers any questions or not: Dexter Gordon Quartet Dexter Gordon (ts) Bobby Timmons (p) Victor Gaskin (b) Percy Brice (d) "Left Bank Jazz Society", "Famous Ballroom", Baltimore, MD, May 4, 1969 Broadway Prestige PRCD 11018-2 Boston Bernie - In A Sentimental Mood - Blues Up And Down - Rhythm-A-Ning Prestige PRCD 11023-2 Misty - Love For Sale - * Prestige PRCD 11018-2 Dexter Gordon - L.T.D. * Prestige PRCD 11023-2 Dexter Gordon - XXL Bobby Timmons Quartet Sonny Red (as) Bobby Timmons (p) Sam Jones (b) Mickey Roker (d) private party, Connecticut, CT, circa late 1960s Here's That Rainy Day Chiaroscuro CR 2030 Prelude To A Kiss - Theme - Now's The Time - Moanin' - * Chiaroscuro CR 2030 Bobby Timmons Live At The Connecticut Jazz Party

I doesn't seem so. I have the original LP. Thanks for the added information!

I just happen to be re-reading "Selections From The Gutter".

Somewhere I have all of the information, but in general: The satellite stations like Sirius, Music Choice, Disc Network etc, pay the higher rate. Muzak also. NPR, non profit, and college stations play a fraction, that is if they record their plays and send them in to be counted. Not all do. At any rate they pay virtually nothing and are going kicking and screaming down the road to pay a small yearly fee to Sound Exchange. Internet station pay a fraction of a fraction, by the way. Streaming is a the very bottom of the scale. Commercial stations, which there a very few that play any kind of non- commercial music, pay the regular rate. The best place for artist to receive royalties in overseas and the satellite station by a large margin. Suppose a billionaire said to a jazz artist/group, "I like your music so much, if you want I'll pay to have a promo copy of an album of yours sent to every household in America." The artist wouldn't get any money out of it. Would he accept the offer? I don't think that it would be irrational for him to do so. Maybe not his current album. Maybe a backlist album from five years ago. But I can see the appeal of having your music in every household in America. In all due respect, that's not a even comparison. One physical cd in your hands is not the same a millions of songs to choose from out in the either. What Chuck, and I, are talking about (in part) are royalties. Which should be the fruit that keeps on dropping from the tree you planted. Not the seeds.