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Phil Schaap: 40 years on the air!


brownie

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Wynton's signature on some of these items can be seen as an insult rather than justification for the inflated asking price.

In complete agreement. A signature only has value if it comes from someone who created, or at least helped to create (e.g., sideman), the item that is being signed. Common sense, I would think.

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At least the Lou Donaldson litho is signed by Lou!

and the Fatha Hines record is signed by Fatha Hines (who - unlike Wynton - wrote on the reconrds' label and not on the vinyl); cometing with those Wynton-signed 78s are the two ugly Pearl Bailey posters who were signed by just about anyone (guess it's easier to convince Lee Konitz to sign a Pearl Bailey poster than a Duke Ellington 78, slightly different with Wynton M))

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Yesterday, I heard for the first time a Phil Schaap radio broadcast of the Warne Marsh quartet at the West End Cafe (on Dime) from 1981. It was a bit strange. I found Schaap's comments to be a bit demeaning of Marsh, as if Marsh's greatest significance in jazz is that he is helping to keep the memory of Charlie Parker alive through his work with Supersax. Marsh seemed to be obliging by featuring more songs associated with Bird in his show than usual, and Phil kept talking about ... Bird.

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Yesterday, I heard for the first time a Phil Schaap radio broadcast of the Warne Marsh quartet at the West End Cafe (on Dime) from 1981. It was a bit strange. I found Schaap's comments to be a bit demeaning of Marsh, as if Marsh's greatest significance in jazz is that he is helping to keep the memory of Charlie Parker alive through his work with Supersax. Marsh seemed to be obliging by featuring more songs associated with Bird in his show than usual, and Phil kept talking about ... Bird.

GRRR!

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I've always signed my Valentine's cards with feces. It was my unique personal trademark.

That must have been rather interesting! and smelt good too!

B00000DRA8.01.LZZZZZZZ.jpg

If "Love Stinks," I'm beginning to worry about your signature "Brought to you through the courtesy of love." :wacko:

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When I drive up to New York City, I occasionally catch his show (by chance). There is something weirdly compelling about a guy who can spin 15 minutes worth of material into a one, or is it two, hour show (seems even longer). The guy just loves to hold forth. I'd hate to be cornered at a party by him. That being said, sometimes the intrinsic interest of the subject matter overrides his over-the-top approach. Bird is great enough to have pigeons like Schaap live off of him.

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Down, boy, down. John L ** TOTALLY ** misrepresented this tape. Schaap was the MC and booker at the West End-- he gave Warne the fucking gig and you know as well as I how common that was in the U.S. then outside of Sal Mosca's basement. If he's hyping Supersax it's because he's playing hype man and even to erstwhile 'hip' Upper West Side audience that was well known part of Marsh's LesterBird continuum.

I'll bet you 54 different WM performances of "Ornithology" Schaap damn well knows what Marsh had done and was in the process of still doing then. Whether or not Warne liked Schaap I have no idea but this "criticism" is absurd. Catch Schaap on a good day and you might get (more) inside dope on the brilliant and Dr. Mabuse-like sides of Lennie T.

To all the clowns whining about Schaap talking to much (as opposed to content of his monologues/interviews), if you want to listen to RECORDS, play a goddamn 78, 10" ep, 16" transcription disc, reel-to-reel, lp, cd etc. Even with boots there's a finite amount of Bird, you can listen to it ALL, music only, to heart's content, if that's what you want.

And if you don't care to know the significance of say Plessy v. Ferguson in relation to Benny Moten that's fine too but don't try to drag the rest of the world down with you.

Yesterday, I heard for the first time a Phil Schaap radio broadcast of the Warne Marsh quartet at the West End Cafe (on Dime) from 1981. It was a bit strange. I found Schaap's comments to be a bit demeaning of Marsh, as if Marsh's greatest significance in jazz is that he is helping to keep the memory of Charlie Parker alive through his work with Supersax. Marsh seemed to be obliging by featuring more songs associated with Bird in his show than usual, and Phil kept talking about ... Bird.

GRRR!

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Well, maybe Schaap did do a lot for Marsh and did appreciate his artistry. I just wasn't able to get that impression from the tape, which seemed as I described it. I don't see my post as a misrepresentation of the tape, although the tape itself might not be a good representation of Schaap's true feelings about Marsh.

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