marcello

Now that looks like a death trap! I wouldn't drive it in bad weather.

Charles Mingus - Changes One & Changes Two Thad & Mel - Consummation Dizzy Gillespie - Portrait of Jenny Cedar Walton - Pitt Inn Woody Shaw - Moontrane Carmen McRae - Live at the Great American Music Hall Miles Davis - Agartha Clifford Jordan - Glass Bead Games Gil Evans - Svengali Sonny Rollins - Live in Japan

My company owns two GEM cars that we drive clients around our housing tracks When we bought them 3 years ago, there were all sorts of rebates and and incentives that amounted to more than 50% of the cost. They are registered and have plates so they can be driven on roads, but they only have a top speed os 25-30 mph and they are made of plastic or acrylic. I wouldn't want to get on a accident with one!

John Eaton's opera work is a major part of his musical history, which is a rich and varied one. Larry, you are correct about that Columbia recording which was shown to me the day after I met him by Alan Bergman, who is his old friend. Mr. Bergman, is a esteemed music attorney and a member of the Princeton Jazz Quintet.

I had the pleasure of spending some time with John Eaton last month, at of all places, The Princeton Club in NYC, where we watched Joe Locke sit in with the Princeton Jazz Quartet. John Eaton is an electronic music pioneer and composer of operas and microtonal music. I quote: " As composer and performer with the Synket, one of the first analog synthesizers in the 1960s, he was one of the first musicians to perform live with a synthesizer." "Mr. Eaton is a prominent composer of microtonal music, and worked with Robert Moog in developing several types of synthesizers. He innovated a compositional genre called pocket opera, operas scored for a small cast of vocalists and a chamber group."

I have this one on LP: HANNIBAL MARVIN PETERSON & THE SUNRISE ORCHESTRA "Children Of The Fire" Sunrise Records 1944 (LP, 1974) Dimension 1: 1) 1st Movement: Forest Sunrise (Hannibal) ( 9:02) A. Rhythm Ritual B. Song Of Life 2) 2nd Movement: The Bombing (Hannibal) ( 3:10) A. Prelude Dimension 2: 3) 3rd Movement: Prayer (Hannibal) ( 4:50) 4) 4th Movement: Aftermath (Hannibal) (17:30) 5) 5th Movement: Finale (Hannibal) ( 1:50) "Hannibal" M. Peterson: tp, koto Richard Davis: b Lawrence Killian: conga, bell tree Billy Hart (Jabali): dr Michael Cochrane: p Waheeda Massey: voc (1 only) Diedre Murray: c Barbara Burton: tympani, perc, dr, bombs, p (3 only) Marvin Tuten: perc, sitar, bombs Alpha Johnson: voc Teule Hart: perc (3 only) Art Webb: piccolo, fl John Blake: solo violin Stanley Hunte, Myung Hi Kim, Rynae Rocha: violin Julius Miller, Judith Graves: viola David Amram: cond All music & poems composed and written by Hannibal. The poems are printed on an extra sheet included. The music is dedicated to the children of Vietnam. rec. 1974 It's extrodinary!

The only thing I know is that THIS IS NEW is from 1968, on Columbia. I love Eddie on tenor. He records on tenor during this gig next month: Oct 19-23 The Iridium New York "The Eddie Daniels Quartet", with Joe Locke, Joe La Barbera, and Dave Fink.

Shit! She left her shoes on!

I didn't know there was a book by that name. Is it new? If you mean: "Stopping Time: Paul Bley and the Transformation of Jazz", I've read that, but it got lent it to Todd Barkan who never gave it back. I liked the book a lot.

I'll throw out some Carmen. This is great:

Absilutely correct!!! I saw one of Duke's last performances. He was like a lion! Gonsalves was drinking like a fish ( he may have been in great pain from his illness ), and he played most of the set on his knees! When he did his ballad thing while walking up to ladies in the audience, playing in their face, he was a lion too.

I think the diference in the Basie band is that Marshal Royal would have kicked anybody's ass that was caught sleeping!

The Moutin Reunion Band who played two great sets of powerful French street fighting music! Francois Moutin (bass), Pierre de Bethmann (piano) Rick Margitza (saxophones) Louis Moutin (drums)

In the interest of moving in economy forward: Poster

I once heard Ray Brown live in a small room in San Diego; his souund was so huge! He played unamplified, and he did a solo spot on Mona Lisa that was just a joy to hear that big, powerful tone. The sound of pick ups has evolved for the better through the years, but in the past, I really hated to hear a bassist do a solo with those Barcus Berry pick ups!

There were 2 LPs "The Giant" (AM 6113) & "The Source" (AM 6135) issued in France on the America label. I have them both on a Prestige twofer Called "The Giant" (p-24047). "The Giant" had: *Stella By Starlight *I Waited for You *Girl of My Dreams Fiesta Mojo Serenity "The Source" had: Manteca Alone Together Brother "K" Wheatleigh Hall These are some of the last great Dizzy Gillespie recordings. Somewhere I read the Brother K was written for Kenny Clarke, but it's for Martin Luther King. All were recorded in April, 1973. More Information: Dizzy Gillespie (tp) Johnny Griffin (ts -4,5,7,10) Kenny Drew (p) Niels-Henning Orsted Pedersen (b) Kenny Clarke (d) Humberto Canto (cga) Paris, France, April 13, 1973 1. Stella by Starlight America (F) 30 AM 6133; Prestige PR 24047 2. I Waited for You - 3. Girl of My Dreams - 4. Fiesta - 5. Mo-jo - 6. Serenity - 7. Manteca America (F) 30 AM 6135; Prestige PR 24047 8. Alone Together - 9. Brother 'K' - 10. Wheatleigh Hall - * Dizzy Gillespie - The Giant (America (F) 30 AM 6133) * Dizzy Gillespie - The Giant (Prestige PR 24047) * Dizzy Gillespie - The Source (America (F) 30 AM 6135)

I'm not sure if this has been discussed before but this information has come my way: Lee Morgan His Life, Music and Culture Tom Perchard This is the first biography of the jazz trumpeter Lee Morgan (1938-72). He was a prodigy-- recruited to Dizzy Gillespie’s big band while still a teenager, he joined Art Blakey’s Jazz Messengers not much after. By his early twenties Morgan had played on four continents and dozens of albums. The trumpeter would go on to cultivate a personal and highly influential style, and to make records – most notably The Sidewinder – which would sell numbers of copies almost unheard of in jazz. While what should have been Morgan’s most successful years were hampered by a heroin addiction, the ascendant black liberation movement of the late sixties gave the musician a new, political impulse, and he returned to the jazz scene to become a vociferous campaigner for black musicians’ rights and representation. But Morgan’s personal life remained troubled, and during a fight with his girlfriend at a New York club, he was shot and killed, aged thirty three. There are other titles also: PREZ The Life and Music of Lester Young Dave Gelly Publication Date: January 2007 Jazz Visions Lennie Tristano and His Legacy Peter Ind Publication Date: October 2005 Handful of Keys Conversations with Thirty Jazz Pianists Alyn Shipton EQUINOX PUBLISHING

I'm told that he splits his time between Italy and France. The photo was not meant to be proof of his health, but the latest one that I could find on the web. I spoke to a Italian saxophonist last year, who is close to Grossman, and when I inquired how he was getting along I was told that he has his health struggles. And yes, as you age the more health problems you can have, of course.

Thomas Marriott is a very, very good trumpet player.

Steve Grosman still lives in Italy, although I'm not sure if he is in the best of health.

Biviano is on the faculty at Berklee, but I don't know where he's from originally. I meant that the big band was out of Boston. I used to have a 45rpm disc that they made. My friend, Barry Kiener, was in that band. Later, Biviano was in the Basie band.

OOPS! Biviano was in a later band, of course. He had a nice big band himself; out of Boston, right Jack? Steve Smith played drums. But Garside played trumpet ,and he was the Manager ( or at least the road manager ), as I recall. The buddy of some here, Danny D'Imperio, was also in the band at one time. Swung it like hell! Hey, here he is!:

I had quite a few friends who played with him in the 70's. He always had exciting bands, and even though the shownmanship might go a little overboard some nights, he always gave it his all. He was known to be fun on the road; young at heart. I always took a sort of perverse pleasure in the way they would play pop music of the day like Bridge Over Troubled Water or Don't Let the Sun Go Down on Me, because the band played with such passion and power! Whew! They made those songs sound like national anthems! It was funny at the time because there was so much movement of player within Maynard, Buddy and Woody, that they all played La Fiesta with different arangements! They all played the shit out of that one. Before that peroid , during the MF Horn days, he had a great band made up of British players like Ernie Garside, Lin Biviano and Joe Temperley that was great also.

You're welcome. Here is the rest of the information. I have the original LPs. These are FUN records! Art Blakey and the Jazz Messengers Lee Morgan (tp) Benny Golson (ts) Bobby Timmons (p) Jymie Merritt (b) Art Blakey (d) Kenny Clarke (d -9/12) Gana M'Bow (cga -9/12) "Club St. Germain", Paris, France, December 21, 1958 1. Politely RCA (F) 430043 2. Whisper Not - 3. Now's the Time - 4. The First Theme - 5. Moanin' with Hazel RCA (F) 430044 6. We Named It Justice - 7. Blues March for Europe, No. 1 - 8. Like Someone in Love - 9. Along Came Manon RCA (F) 430045 10. Out of the Past - 11. A Night in Tunisia - 12. Ending with the Theme - * Art Blakey - Au Club St. Germain, Vol. 1 (RCA (F) 430043) * Art Blakey - Au Club St. Germain, Vol. 2 (RCA (F) 430044) * Art Blakey - Au Club St. Germain, Vol. 3 (RCA (F) 430045)

Gana M'bow