_forumlogo.png.a607ef20a6e0c299ab2aa6443aa1f32e.png)
Stereojack
-
Posts
3,469 -
Joined
-
Last visited
-
Donations
0.00 USD
Content Type
Profiles
Forums
Events
Blogs
Posts posted by Stereojack
-
-
Margie Anderson is a Boston-based singer who still lives in Boston, although she is no longer active as a singer. She has been a close friend of mine for many years. The CD is her own reissue of a session recorded in the late 1950's. The material was issued on a variety of budget labels, although the pictured LP is the original release. I gave up years ago trying to sort out who's backing her on this session, although she does remember that the band was led by pianist Bob Freedman.
Is there any chance that that/this might be Charlie Mariano on alto?
Doubtful. Charlie was in Los Angeles playing with Shelly Manne at the time. It does sound like him, though! Oh, and by the way, the tracks on the Maxine Brown album are not by Margie. She once told me that she made an LP of 1920's songs as well as the "Blues" album, but I've never run across a copy. I do have two of the Columbia 78's.
-
Margie Anderson is a Boston-based singer who still lives in Boston, although she is no longer active as a singer. She has been a close friend of mine for many years. The CD is her own reissue of a session recorded in the late 1950's. The material was issued on a variety of budget labels, although the pictured LP is the original release. I gave up years ago trying to sort out who's backing her on this session, although she does remember that the band was led by pianist Bob Freedman. Margie also recorded for Columbia in the early 1950's. There is some information about her (and from her) in the book about Gigi Gryce by Noal Cohen and Mike Fitzgerald. She had known Gigi in his Boston days (early 1950's) and I put Cohen in touch with her.
-
A lot of people have assumed that we are shutting down due to poor business, downloading, or what-have-you, but I can say with some pride that this is not the case. When our current landlord bought the property ten years ago, he informed me that he intended to move his pizza shop, the Harvard House of Pizza, away from his current location into our space, but at the time he was not ready to do so. He also assured me that when it does happen, he would give me plenty of notice. Although he owned this property, he was content to stay where he was, even though he was renting, because the corner location was ideal. After ten years, his landlord (who was also once my landlord, so I know his MO all too well) has made staying pretty near impossiblle, so now he has decided to make the move. This actually comes at an OK time for me, and I'm looking forward to semi-retirement. I intend to keep a presence on line, selling on Ebay, but will no longer have a retail store.
At present, our official closing date will be end of April, but the landlord is going through a complicated mess of red tape getting the proper permits, so we may possibly stick around a little longer.
Thanks to everybody for your thoughts and words, but of course, I'll still be around here!
-
But if you listen to the music even while NOT watching the film but AFTER having it watched (no matter how long ago) the music - even on its own - works perfectly well and, considering what musical scores of movies were able to achieve back then at all, at least from a jazz angle, really is outstanding. The fact that the music does manage to bring up certain images (no matter how imprecise) makes all the diffrence.
I agree. After having seen the film, I do enjoy the soundtrack music on its own. The mournful piece that accompanies the final scene is Miles at his best! And, for what it's worth, I think the film is a masterpiece.
-
Many thanks for the info. What is the story behind the Chazzer LPs? They seem to be a miscellaneous collection of live sessions. The album notes are worthless. Are the LPs rare? Stonewall15.
Chazzer is but one of many labels issued by the late Boris Rose, mostly in the 1970's and 80's. They often contain rare broadcast material, but the packaging is ludicrous, and the discoraphical details are lacking. The albums are not rare, and as much as people may disparage Boris and his many releases, many of us who are serious fans of the music have got plenty of his records in our collections!
-
I just want to say that I never "got" this session until I saw the movie some ten years after first hearing the soundtrack album. The music works brilliantly in the film, especially in the final scene.
-
The old Pablo boxes were using the mono masters.
My copy is rechanneled stereo.
The Pablo LP's were rechanneled. The CD boxes are also rechanneled.
-
There were only five releases on Climax, all 12 inch 78's, all by George Lewis. Numbered 101-105.
-
When the original partners Bob Sunenblick and Mark Feldman split, several of the titles ended up with Feldman. He has issued some of them on his Reservoir label:
Uptown 27.09 JR Monterose = Reservoir 109
27.16 Pepper Adams = Reservoir 113
27.17 Don Sickler = Reservoir 111
27.21 Buddy Tate = Reservoir 110
27.22 Joe Puma = Reservoir 102
27.24 Peter Leitch = Reservoir 118
-
Probably purchased because the cover art is by Andy Warhol. Buyer apparently doesn't care about the vinyl. I've sold several such items (although never for THIS kind of money) to museums.
-
Murray's attitudes go beyond simple racism to obvious ignorance - he clearly doesn't even know how to listen to music, and he seems to know very little about the music's origins - he only knows what he thinks he knows..
Those who have made these comments in the past, black and white, cannot back up their claims with any ability to tell a musician's race in a blindfold test.
-
One of the funniest comedians I've ever seen. Never fails to crack me up. RIP
-
Great record - stellar cast!
-
Jack, I don't know your reasons for closing. However, if there is an economic aspect to it, I wish I could help.
The reasons are not economic. We lost our lease, and at my age, I don't have the energy or stamina to reopen elsewhere.
-
The Louvin Brothers box is among the greatest projects that Bear Family has given us. I had managed to acquire most of the LP's by the time it came out, but I sprang for it anyway. If there is a single box to which I return more often than any other, it's this one, and that includes most of the Mosaics as well. Many "complete" boxes invariably contain a certain amount of filler or weaker material, but not this one. The brothers were consistently good!
-
Mr.Stereo Jack, would you, in time, announce the details of the closure? Is there going to be a final grand sale?
Congratulations on your retirement, and Thank You!
Will tell the whole story in time. We still have two months, so any sale announcements would be premature.
-
Someone over on the Steve Hoffman forums has started a thread saying that Stereo Jack's in Cambridge, MA is closing in two months! Jack - is this true? Are you hanging it up?
I have to make plans to visit a few more times before that final curtain goes down.
Man, am I feeling old right now.
Kevin
I guess the cat is out of the bag. Yes, we will be gone at the end of March.
Until then, it's business as usual.
-
for the RVG. Although I haven't been a big fan of the RVG series, I think this one is a definite improvement over the previous release.
-
Country music royalty. The Louvin Brothers are among the very greatest. Sadly, Charlie's voice had declined in recent years, but at least he lived to be an old man, unlike his brother Ira.
-
Couldn't find any threads on JJ, other than the ones above. He must've been very popular in the late 1950s, judging by the number of the LPs he put out.
As a record seller, I can assure you that Jonah moved a tremedous number of records in the late 50's and early 60's. This formula also inspired a number of other trumpeters (Roy Eldridge, Shorty Baker, Bobby Hackett, et al) to make similar records. Jonah always plays well, but rarely veers from the formula. The one exception is the album "Jonah Jones & Glen Gray" (Capitol), a hard swinging big band album with great charts by Benny Carter.
-
I bought the CD when it first came out in the 80's. This was an unreleased session, and it was tantalizing. Overall I agree with riverrat's comments. There is some fine music to be heard here. The opportunity to hear from the scarcely recorded Hugh Brodie is a plus, but Massey's trumpet playing is, to be delicate, limited. It's not difficult to see why the session went unreleased originally. If you are intrigued by Massey's music (as I was), there's something here, but the date is flawed by Massey's limitations as a trumpeter.
-
I recall first picking this one up back in the days (ah, the mid 90's) when I could afford to be something of an OJC completist. Despite the patchy reputation -- only somewhat well-earned, IMO -- of such Prestige jam sessions, I decided to give this release an audience due to the presence of Mal Waldron, acting here too as musical director, which I suppose means supplying charts, and perhaps more (?).
In any event, contrary to what Scott Yanow has to say in his AMG write-up, the four altos here are farily easy to distinguish from each other: Woods, thanks to his tone, accents and fluency; Stein for his tone as well, almost tenor-like, and rhythmic conception, sounding too like a translation of an approach to a larger horn; Quill, who, when he drops into the lower registers, introduces a kind of breathy, maybe even sotto voce quality to his playing; and Shihab, because -- IMO -- he's the most consistently inventive and least conventionally Bird-inspired of the soloists here.
Take his solo on "Kokochee" (you can guess its derivation): after some expertly constructed bop choruses from Woods and Quill, Shihab crafts a solo that has an almost palpable shape to it, building from fractured phrases to some convoluted melodies that land on the beat laid down by Louis Hayes, then commandeer it. All with this almost rip-sawing tone... or maybe its both sweet and hot, like that tamarind/chili candy... and he's not afraid to thrown some honks in there, either. Or his double-time phases on the bridge on the opening "Pedal Eyes." Or the way he bustles sideways through the rhythmic suspensions on his choruses on the closing "Staggers." Waldron must have been impressed, too, as Sahib participated -- on alto exclusively -- on his MAL/2 sessions later in the year. But this is the record that made we wonder: "Why aren't there more recordings of Shihab on alto sax?"
Two other virtues of this recording: 1) Given the number of soloists to accommodate, the performances are rather lougueur-free. The horn players get three to four choruses apiece, at most, and have to make the best of them. Not all the chases escape sounding obligatory (getting the right blend is a matter of some delicacy), but the best are exciting, and feel like natural extensions of the dialogue begun in the solos themselves. 2) Tommy Potter.
Saxophone-fu, Charlie Parker-fu, Bob Weinstock-fu, Four Little Brothers-fu. No decapitations, zero breasts, alarming absence of exploding cars and / or trucks. Still, four stars. Joe Bob says check it out.
A nice review. Thanks for posting.
I agree that in general Prestige blowing sessions tend to get a bad rap. I was weaned on the Gene Ammons sessions, and I guess I'm going to have to pull this gem out once more and give it a listen.
-
I've had the "Happy Bird Blues" LP for many years (red double jacket with a photo of Bird on the front) and I recall that there's a fabulous version of "I May Be Wrong" on it which has great solos by Bird and Wardell, so why isn't this track mentioned? Or is my memory faulty? (I'm not at home now so I can't verify what I'm sayin').
"I May Be Wrong" is mistitled. The tune is actually "Lullaby in Rhythm", mentioned among the discographical details in post #2.
-
does anybody have any information as to who recorded the christy's session and how it was recorded (on what was it recorded?)
The manager (owner?) of Christy's was named Eddie Curran. He recorded a number of sessions at the club. The Bird/Wardell date was first issued on Charlie Parker Records in the early 1960's. Curran also recorded several other jam sessions, some of which were slated to be released on the Zim label sometime in the 1980's, but Zim records ceased operation and never issued them. I believe the recordings were made on paper-backed tape.
I agree that, considering the circumstances, the sound on this session is quite adequate.
WOW thanks jack! I wonder where the other Curran recordings are! Mebbe a treasure trove waiting to be found!!!
The tapes are still, to my knowledge, in the hands of Art Zimmerman (Zim Records). I also believe that copies of them are circulating among collectors.
Kimberly/PRI label licenced from Pacific Jazz?
in Discography
Posted
I recall these from the mid-60's. They were all from Pacific Jazz. Whether Bock himself issued them or licensed them out is unclear. They were budget-priced.
Brookmeyer & Guitars
Bud Shank & 3 Horns (title?)
Annie Ross & Gerry Mulligan
James Dean Story
Hoagy Carmicheal
others?