marcello

Here too! Thanks, Paul!!

Really? I didn't know that! Thanks all for the birthday greeting! This place is full of the best people!

Sonny did record a lot of barely passable / auto-pilot music, but when he was on, the sheer force of his spirit ( mean or otherwise) and virtuosity was enough to win the day. I think if his volume of recordings was say, limited to a half of dozen of his best, this discussion would take a different direction.

William Basehart?

Happy Birthday, to one of the Good Guys!!

Here's some photos of mine: With his Son: With Anthony Braxton:

The guy in the denim shirt is Al Aronowitz. Devon Wilson Betty Davis

It seems that session was never released at the time. It was issued on LP eventually (with another session in 1979), but not on cd: Tracklisting / Additional Info: 1. First Klass (C'mon Home) 2. Second Klass 3. Straight Back 4. Steerage 5. Third Klass 6. Meet The Frog 7. Nite Life 8. My Melancholy Baby 9. Lotus Blossom 10. Free For All 11. I Told You So 12. Starting With You (I'm Through) 13. The Hare 14. The Things You Miss 15. Wiggle Awhile 16. Br'Rabbit 17. Get Ready 18. Peaches 19. Hygiene The music from both of those sessions are in the Mosaic box. Blog Review

Hey, a musician instead of a aging actress!! Steve Marcus?

Masterful tenor ballad paying here!

That's very kind of you, Pete. Every once in a while one gets used for a publication or a cd. The last one was on Freddie Hubbard's "Pinnacle", and the next one will be on a Oscar Perterson recording for Sony Masterworks "UNMISTAKABLE". You can view most of the here: Tom Marcello's Photos

The Post reports that Stone has become increasingly paranoid, afraid that both the FBI and assassins are pursuing him. For fuck's sake Sly, stop it with the coke already!

That's one of my photos. Here's another:

Some notables: Marcus Strickland - reeds Michael Rodriguez - trumpet Johnathan Blake - drums Reuben Rogers - bass OOps! I have to add another fantastic drummer: Alyn Cosker ( from Scotland)

I don't believe this is the original but: Tune Up!

For the record: Leonard Feather presents Downbeat Awards for 1951 to Charlie Parker, alto sax; Dizzy Gillespie, trumpet; Dick Hyman, piano; Sandy Block, acoustic double bass; Charlie Smith, drums.

Quick story: Sometime in the mid-70's, I had this video that I taped off of a TV program. I had a bunch of performance that I taped that way, so one night I brought the Betamax over to Barry Kiener's home so we could watch them together after his nightly gig was over. At sometime around 3AM there was a knock on the door and in walked Tony Bennett, Jon Burr and Danny D'Imperio. They were playing at some private function in town, and since Jon (who played with Barry with Buddy Rich) and Danny ( who was a old cohort) knew Barry and where he lived, they just stopped by with Tony in tow. When we played "Hot House", Tony was so knocked out, that we played it over and over and over. He was a very, very nice guy.

Now there's TWO posts, that made this whole thing worth reading. Disclaimer: I actually couldn't bear to read absolutely everything!

Happy Birthday, Dan!!

Here's a related story that that was prompted by a friend, after he heard about this recording: Did I ever tell you my Wynton story ? ( not that it's much ) When Wynton went on the road with Art I was in high school. Of course, they would hit KK and I went every time, sometimes multiple nights. I played trumpet back then, and although I really was not any good at jazz ( because my teacher was pushing me to go pro legit horn ) , I think I had much more of an appreciation for jazz than most jazz players in high school. I think I "got" jazz from a really early age and I probably should have tried to learn to play seriously Anyways, one night we went with some guys from Berkeley High School who were good players and serious about the music. This was around the time of Craig Handy. A couple of the trumpet players brought their horns. So, we stayed till the end and these trumpet guys were trying to ask Wynton questions as he got off the stage. So a little later he came out and invited us to his hotel room ( he wasn't that much older than us actually, so maybe he felt like he could relate to us ). At the hotel he kind of gave a masters class with the harmon mute on. But here's the thing that struck me : I don't know if you know trumpet literature much, but probably the most famous trumpet studies book is Arbans. Arban was this celebrated cornet player in the mid 19th century who liked to write really tough exercises in the classical or fantasia or popular music style of the day. I still remember hurting my lip over a lot of them. Now, Arbans is great if you are giving a classical masters class, or maybe doing a brass concert in high school. I mean it's technical trumpet stuff, and it's from over a hundred years ago. But what Wynton was doing is he was taking patterns out of etudes and rearranging them a bit harmonically and rhythmically and playing them in his solos. Well I was totally blown away. I started realizing that a some of the really complex fast lines he played were actually out of that book. Man that blew me away. But the other guys there thought it was great, so I of course kept my mouth shut. Now when you're coming up there's nothing wrong with taking material from wherever so you can make it on the stage. But remember that at this time Wynton was being billed as the heir apparent on jazz trumpet. Even as Freddie and Woody were still in their prime. If you listen to Miles in the 40s he was playing technically very simple stuff, but it all had a musical purpose, and it all fit with what came before him, and it built and linked together and told a story. Dizzy, Clifford, Lee .. much more advanced technically at an early age, but still any prowess they amassed was fully steeped in jazz tradition and you could listen to their solos repetitively and amaze at the ideas, and construction, and connectedness, and context, and emotion, and style. But most importantly, these cats had *something to say* and they had to get it out - that was very clear ! And of course it applies equally to Freddie and Woody in the next generation. I don't think Wynton understood that. And I think a lot of players today -- even professional players who are the product of jazz pedagogy in the high schools and colleges across the country -- also don't get it. Anyways, I didn't sour on Wynton because of that, I was still a fan. but some years later when I realized what a charlatan he is, I remembered Arbans, and that's actually how I will always think of him ! Heh ...

This made the whole thread worth reading.

So, the publicist took a fee for only providing a list, with no follow up? He didn't even write the material? There's some value for ya!

In almost the same vein as Mainstream, how about Cameo (or Cameo/Parkway) for a couple of fine Maynard Ferguson albums... Were there other jazz releases on that label?