marcello

The above is a great Jon Hendricks record, for those who are looking for him doing something other than vocalese. His brother Jimmy (I shit you not, real name) was a friend of mine and they had other family here in the area and he performed and visited often. Jon Hendricks can be a great singer, when he sheds his 'showbiz" cloak. There was a short time, in the '70's, when he was a special vocal teacher to a lot of mainstream performers. I mean big room Las Vegas performers and some of the younger set. I love his "Blues for Pablo".

You are correct of course, Larry. There is no mention of the man who taught Hendricks; King Pleasure.

Tadd Dameron?

He did, actually! I forgot to mention it! Big payday for Reuben!

Thanks for the report. Well done. Reuben Rogers is a friend of mine. Always working and is able to mix with a variety of musical situations. I'm almost surprised he didn't work with Reeves too! I'd love to hear that Lloyd band with Jason Moran.

Pretty good Jim! I'm not saying KB was/is a genius or a innovator, but a influence on a generation of guitar players accross genres and urban cultures, if you get what I mean. And shit yeah, a master of his instrument. Maybe it's because I had the oportunity to sit accross from him quite a few times when I was young (starting in '69) to get touched. Starting with Elington is Forever is when he lost interest for me, by the way, but that doesn't change the facts. I also dig Gene Bertoncini, Chuck Wayne, Al Gafa, Bola Sete, Jim Hall and a lot of other fine, and yes, master guitarists. Actually, I find this a rather nice discussion. ...and I hope that KB cashed a barrell full of checks.

It's a compliment. It's been a while that I've heard him ( especially live), but he is a master guitarist. I heard a recording that was made recently that certainly was a bore , but everyone has a bad recording or two.

He really had a long career playing with many leaders: Max, Woody Shaw, Dexter, and on and on. I had a nice time with him once with some of his old Brooklyn musican friends so I'll always remember him with a big jovial smile on his face. Ted, as you know, with one is very nice from the Cafe des Copians:

People forget what a huge crossover influence Kenny Burrell was to guitarists of many genres in the 60's. A real Master. Here's one of my photos of him from the 70's:

I saw Kim Linzy last week at the JazzWeek Summit ( wonderful lady, by the way), who's the Program Director at KUNV and asked about the club scene in Vegas. She told me it's been dead for quite awhile, sorry to say. KUNV is a nice station at the University has some fine players associated with it like Tom Warrington and Joe La Barbera. Here's Kim:

no blues sorry

No Blues

I saw him in concert a week ago in Rochester. He was fine but only played one song in a JATP type jam at the Eastman ( "Lament"). I hope all is well.

I have a soft spot for the Royal Roost recordings.

Sad news, of course. That's Dave of the left with Joe Locke, Gary Novak and Tommy Smith in Italy a few years ago.

I can see your point Ms. Morehouse, if in fact internet stats are important to a writer and his editor, but I still think it's a small point and I will not get in the way of any pissing contest between members. I don't think 7/4 ever claimed he was a writer, as a point of fact, and if I post a article, I'm reminded to just post the link. Best, Tom Marcello

What makes you think this is Clem? Do you really think that Clem gives a flying you know what about NYT copyright issues? I know I don't, so post away, David!

The Jazz 625 shows are a part of the Library Of Congress, such as this: JAZZ FILM Three episodes of "Jazz 625," a rarely seen BBC performance series from the mid-1960s featuring the bands of Willie "The Lion" Smith, Wes Montgomery and Art Blakey is on tonight's "Jazz on Film"

Django's continuing influence, even in the 21st centuary gets my vote but Joe Z's writing for WR, and his keyboard style has a smaller influence just because of the number of musicians that play his kind of instrument and music. I've got to say that I always thought that a WR concert contained about 20 minuties of thrills ( on a good night) and 60 minutes of jerking off. Maybe I just caught them on off nights tha four times I saw them with four different line ups. I just got a live set from someone from 1973, that's hard to listen to with without giving them a lot of leeway for being unique for the times. Here's a photo that I took of Al Johnson in 1976/77?: One of the crazies things I've seen posted here was when YouMustBe said that Wayne was borderline mentally retarded! I'm not saying he's right or wrong but, that's something different!

I found this: Pathé Beginning in 1908, Pathé began a massive schedule of recording in China through its office set up in Shanghai in 1907. Pathé's recordings covered almost all early Chinese famous Beijing and Cantonese Opera performances. The artists who made the recordings for Pathé served in Beijing and Cantonese operas' famous theatrical troupes by the end of the Qing Dynasty. Some of them served as teachers and performers in the Beijing Opera for the Imperial Palace during the Qing Dynasty. The records were 9.5", 11.5" and 14" in diameter, double-sided, vertical-cut with an etched-label (fig. t). Pathé's etched-label has become very popular to many Chinese collectors. Antique Phonograph News

Here's a photo of Chuck Wayne that I took in 1975: He was playing duo at the time with Joe Puma and recorded this: A lovely gentleman ( who it seemed couldn't stand Joe Puma off the stage) and master guitarist. Chuck Wayne

Never heard of him Chewy. I found this... Froebel Astor Brigham Jazz--Born:1917 native of Magnolia, Arkansas--The leader of The Preservation Band, Brigham performed almost until the time of his death on May 31, 1996. In 1994 and 1995, The Preservation Band was honored by winning Best Dixieland category at The San Diego Music Awards. Upon his death age 79, his family established the Fro Brigham Preservation Jazz Scholorship to help high school students attend college and study jazz.

I usewd to have the Lester Young "Pres is Blue" and the Duke Jordan / Sadik Hakim "East and West of Jazz". They were poor pressings. I think Doris Parker owned the label, or had something to do with it. Charlie Parker Label Mayhew bebops his way into Parker estate Aubrey Mayhew has led an American life that includes running with Johnny Paycheck, buying the infamous Texas Book Depository in Dallas and winding up with the rights to the Charlie Parker songbook. Mayhew met Parker in 1953 when he was running the WCOP Jamboree in Boston. "Charlie used to play a jazz club there," Mayhew said in a recent interview from Nashville. "[New York disc jockey] Symphony Sid got fired, so we hired him in Boston to do our midnight show. Sid would bring jazz artists to Boston, but he was slick. He'd bring them up on a bus and pay them $20 to play in a club he was running. He would also play them on our station. "I went over to the club one night and Parker was sitting at the table. I asked him how much he was getting paid for the taping. He said he wasn't getting paid anything. So I jumped on Sid about that, went to Parker and said, 'Don't you tape anything for anybody unless you get paid.' I offered him $1,000 for the taping we did that night. That bonded us together." After Parker died in 1955, his widow Doris contacted Mayhew. In 1959, Mayhew joined the Parker estate as a music adviser and by 1961 Doris Parker and Mayhew launched the Charlie Parker Records imprint. The Parker Records roster included saxophonist Cecil Payne, bop pianist Duke Jordan, drummer Cozy Cole (of Louis Armstrong's All-Stars) and several Parker sides. After the label stopped issuing product in 1965, Doris assigned all the rights to Mayhew. "And I've owned all the Charlie Parker rights ever since," Mayhew said. AND: Koch Records hit the jackpot when they purchased the Charlie Parker Records catalogue, a superb little label run by Black Music lover Aubrey Mayhew Here's something more from this forum: Charlie Parker Records from Organissimo

Don't these people sleep? Two days earlier I saw Feldman playing the last gig of a European tour with Sylvie Courvosier in Bath, England. The jet-set life-style of a left-field improvising musician. Or rehearse? The leader commented that they had just met Mark Feldman for the first time earlier in the day of the performance. Don't forget that they picked up 5 hours flying from the UK to NYC. Ahh, the life of a jazz musician!