marcello

I'm sure all of the music has been reissued, in one form or another, many times.

he joined Gillespie’s seven-piece band for recordings that accelerated the pace of bebop’s acceptance. De Arango’s choruses on “Anthropology,” “Ol’ Man Rebop” and particularly his luminous solo on the second take of “52nd Street Theme” demonstrated why Gillespie, Milt Jackson, Al Haig and Don Byas, the other soloists on that landmark RCA Victor date in early 1946, accepted him as a peer. I have this set on the original 78's. This must have been startling music to the listening public after the long record ban. The set also includes a Coleman Hawkins band with Mary Osborn on guitar.

The recording session is in September. September 19-20 in Seattle. I'm not sure who else is scheduled. I can find out for the curious, or you can contact John Bishop at Origin. I believe Thomas Marriott will be included. Both Hadley and Joe were on Thomas' last recording for Origin:

In September, there will be a new recording made for Origin,with Joe Locke on vibes as guest.

This is a real good later recording, but not on cd yet: Max Roach - Chattahoochee Red (Columbia FC 37376) Cecil Bridgewater (tp) Odean Pope (ts, fl, ob) Walter Bishop Jr. (p -5) Calvin Hill (b, vo) Max Roach (d, per) NYC, early March, 1980 1. Medley: The Dream / It's Time 2. I Remember Clifford 3. Reach For It 4. Lonesome Lover 5. Wefe (We-Fay) 6. Six Bits Blues 7. 'Round About Midnight 8. Red River Road 9. Giant Steps 10. Chattahoochee

Rosario Giuliani is a Bad M/F He has a nice website and sound samples. ROSARIO GIULIANI

Thanks for sharing, Conn.

The Tokyo set is very good.

There's confusion here. The Jack Wilson you're looking for is Black and was born in Chicago in 1936. Don't know if he's alive.

Getz had a way with women, didn't he? A musician told me a story of Getz and a girlfiend/wife. They just played a outdoor concert in a beautiful seetting on the West Coast. Everyone was feeling mellow and happy. As the band & wife/girlfriend were walking up a road to the hotel from the venue overlooking the coastline and happily talking, all of a sudden Getz hauled off and punched the girl knocking her to the ground. Then he went on keep on walking as if nothing happened, leaving her on the ground.

That's marketing, Chuck!

Found at my uncle's house the entire 78 albun "New 52nd Street Jazz" on RCA Victor. Mint condition. Another uncle bought it when he came home from WWII and never played it. Dizzzy Gillespie's band: Bags, Don Byas, Al Haig J.C. Heard, Ray Brown & Bill DeArango Colman Hawkin's band: Alan Eager, Charlie Shavers, Mary Osborne, Jimmy Jones, Pete Brown, Shelly Manne & Al McKibbon I've heard these before, of course, but it must have been a shock to the people who heard the Dizzy sides after the long record ban. PS: Looking at the post above, I have the Charles Sullivan also. Great player. What happened to him?

She may not have wanted you to figure out her age. Her bassist for the last 10 years was the great Jay Anderson, who to my ears, made her trio listenable. She's not my cup of tea. She and Steve Davis are a couple. Jay is a complete musician.

Most artists are at their best on their own projects playing their chosen repertoire. No mystery there. In the entire history of the Miles Davis bands, Hank was there not very long at all. Mobley had something like five recordings as a leader in 1956 alone and about the same number or more in 1957, so his identity was firmly rooted well before he started playing with Miles in 1961.

I didn't know about the movie so thanks Jim, I'll keep a eye out for it.

That's really a great one. Their rapport makes for great music!

You're roght, he called her Miss Joplin. The whole band played, but she did most of the talking, not on the couch as I remember. This same show had Still and Crosby ( still with mud on thier pants ) and Hendrix was supposed to be on also, but they couldn't get him up. Anyway, Cavett was no Nat Hentoff! And a much shorter career! August 19, 1969 - Jefferson Airplane, Joni Mitchell, Stephen Stills & David Crosby

No, but I remember seeing Grace Slick ( just after Woodstock) on the Cavett show and she kept calling him "Jim". You know, in the black venacular "jim" can me something like dude, or really white dude. So she kept on saying things like " You know, everything was beautiful, Jim" and "Well you know Jim..." Then Cavett said "Well Janis...". He didn't get it at all. A total mayonnaise face, as we call it in these parts.

I think it's silly of Malone to harbor resentment in this case. If your main artistic thrust is to be "just" a great straightahead jazz guitarist, you're going to hit a commercial ceiling. He should compare his career to people like Jimmy Bruno or Vic Juris, etc. Besides, the level of commercial and critical success that a one-of-a-kind artist like Metheny has achieved is difficult for ANYONE to attain. You can only play so many chourses of "Cherokee" before you hit a ceiling. People respond to a artist who are tring to make real music. By the way, there is a whole 'nother subject of Crow Jim that is part of the jazz scene, but there is nothing to be gained by exploring it. Not these days.

Pepper Adams, Steve Davis & Billy Hart

Percy Heath

Hannibal Marvin Peterson

You might be interested to know the cd version adds "A Kiss to Build a Dream On", "Gone With the Wind" and "Laura" for a total time of 69:26. There is one copy listed on Amazon for $149.99. The copy I have is on CD

My God, you're in the wrong forum!

Maybe. I just all ways wondered about the folks who automatically applaud after every dam solo. No matter how good it was. 7/4 is right, and I have to say it annoys me. It's on the same level as the obligatory standing "O". Chuck is right too. Some times it can be inspired. After a while you end up with musicians who play cliche's because they get the cliche' aknowledgement.