Philip

I've contributed the following article, having referred to Chris in an article I started on Riverside Records. Chris Albertson From Wikipedia, the free encyclopedia. Chris Albertson (born Christiern Albertson in Reykjavik, Iceland on October 18, 1931) is a New York City based jazz journalist, writer and record producer. He was partly educated in England because of World War II, and trained as graphic artist, settling in Copenhagen. In 1947, Albertson made a discovery which was to change his life: he first heard a recording of Bessie Smith, and he became interested in jazz and blues music. Albertson began recording visiting musicians working in the New Orleans revivalist style in the early 1950s, including the British trumpeter Ken Colyer. These recordings were subsequently sold to Storyville Records, a local Danish company, and issued. In 1957, Albertson migrated to the United States (naturalised 1970) innitially working in independent (non-commercial) radio in Philadelphia. Here he conducted a rare interview with Lester Young, one of only two with the tenor-saxophonist to survive. In 1960-61 he was employed by Riverside Records' Bill Grauer to supervise their Living Legends series of location recordings. These were made in New Orleans (and Chicago) of surviving pioneer jazz musicians such as vocalist Sweet Emma Barrett, drummer Lou Cottrell, trumpetter Percy Humphries and trombonisr Jim Robinson. Albertson subsequently worked as producer for Prestige Records and station manager for a Pacifica station in New York. In the late sixties he worked for the BBC in London, advising them on how to adapt their radio programmes for sale in North America. In the early seventies, Albertson was appointed by CBS Records head Clive Davis to oversee reissue projects. These included the complete recordings of Bessie Smith; Albertson's notes for these sets won a Grammy. His standard work Bessie: Biography of Bessie Smith appeared in 1973 (the second edition as Bessie was published in 2003). His record reviews for American Stereophile magazine were to extend over a twenty-eight year period. In recent years, Albertson has been a prominent contributor to several jazz bulletin boards on the internet. Source Anyone else made a contribution to this project. The Guardian recently published an article on the database.

Giants of Jazz CDs are (or were?) put out by a holding company called Sarabandas sri, a company also credited on the Joker issues.

Still around in Europe, but this will have turned in to another grey market/copyright thread next time I look...

Both incredibly good records.

A proposed McFarland Verve/Impulse Mosaic has gained a positive response from MC in the recent past.

The Gil Melle albums.

15 yrs. In 1989 I started to listen to the jazz programmes on BBC R3, in addition to the Classical and Arts stuff that surrounds them.

The Verve box (from 1994, which by a coincidence I'm listening to now) still sounds like a decent transfer, but the BN box sounds rather muddy. All bar the Roost material has surfaced as RVG edition CDs, and those may sound better than the set.

Dubious character; Wilson campaigned for Oswald Mosley (of British Union of Fascists infame) in the 1959 Kensington byelection. There are indeed much worse things to be in to...

Humphrey Lyttelton, on his BBC show, once asserted that he had once been advised to place the slower tunes in the middle of the program to allow the music to breath.

According to JazzWise (June '04) magazine from June 1, Mole Jazz will be based upstairs at Harold Moore's Classical Shop, 2 Great Marlborough Street, W1.

Tiannamen does indeed relate to the 1989 massacre, but the album relates to Chinese and the Chinese-American experience as a whole. If memory serves, only one track "Great Wall/Gold Mountain" could be called fusion in anything like the usual sense. The version of "Come Sunday" manages to fuse the familiar theme with elements of Max Roach's We Insist! - Freedom Now suite. Jang also name checks Mingus as an influence too, and this is appropriate, both in the agit-prop nature of the music and the importance of the bass in propelling the music forward. The Arkestra reference is to Horace tapscott's unit as much as Sun Ra's.

I voted Classical, actually I'm more easily satisfied in that area as I listen to the radio rather than CDs.

Morgan/Shorter #1

McIntyre's playing on Home really seems to anticipate the playing of David Murray, rather than being reminescent of his contemporaries.

Identification, his MPS album from 1969 and reissued in Japan, is absolutely stunning. He goes beyond the eclecticism one associates with Jaki Byard, yet still has a consistently recognisable voice.

The remaster of This Here Is Bobby Timmons suffers from wow; the pitch on "Moanin'" wobbles for a few seconds. The sound on Coleman Hawkins Night Hawk ia acceptable.

"Other Place?" I thought it cloosed when the lease ran out.

Plenty of Ogun, especially all those Mike Osborne albums John "Vinyl freak" Corbett mentions in the May issue of Downbeat. [EDIT: Crazy Jazz (UK) lists Border Crossing with Marcel's Muse for May release.]

Very sad news. Keiko is the name of Elvin's wife.

In the 1980s Alfred Lion mentioned to MC that he admired Prince.

Or taken a bath!

Although the Shirley tag is halfway there.

Hope this is not going to be another "Horace Parlan" style thread.