Caravan

Yes, he responded and I did indeed use his UC email. USC? That's right - USC.

Yes, he responded and I did indeed use his UC email.

I did.

The band chorus in Four in One (1963 Big Band) was not transcribed from the 1951 Blue Note version (as Kelley has it on p. 348), but from the 1960 Riverside At the Blackhawk. And I have a long list of other errors and typos. Anyone cares to know?

Well, perhaps Levin refers to events in both 1962 and 1963, but in October-December 1962 Taylor c.s. were definitely in Scandiniavia (CT at the Montmartre, Copenhagen, Denmark, was recorded November 23, 1962), during which period they met and played with Al Ayler for the first time ever (AA with CT in the Revenant box was recorded in Copenhagen, November 16, 1962). There are also CT recordings from Stockholm, Sweden, October 1962. They returned to the US late December 1962. Ayler playing with Taylor in NYC must refer 1963, not 1962.

Interesting indeed, but Levin got the year wrong - he writes "late 1962" and "mid-November", but in October-December 1962 Taylor, Lyons and Murray were in Scandinavia (Denmark, Sweden, Norway), where they also met and played with Ayler for the first time. Levin's story should relate to 1963.

During the mid 1960s, some Dutch (radio)producers promoted Van der Cappelen and Hinze as examples of "responsible avant garde" ("modern yet civilized"). Both were even invited to play with Cecil Taylor when he visited the Netherlands in 1967 and made radio recordings with Dutch musicians (the others in that group were Breuker and Bennink). Soon after, Hinze turned to muzak and Van der Capellen (whose roots were in bebop) disappeared from the scene.

You may want to check out: Current Musicology Special Issue, Nos. 71-72, Spring 2001-Spring 2002 http://jazzstudiesonline.org/files/RudyVanGelder.pdf

The former Portuguese colonies in Africa surely follow the pronunciation rules, but their accent is easily identifiable as to its geographical origin nevertheless. Being independent only since 1975 has nothing to do with it, as Portuguese was the official language there already for 100s of years. The Portuguese have been quite succesfull in extinguishing the native African languages in Angola and Mozambique, which has mainly been the task of the catholic church. Not much drumming left in these countries either. In contrast, in Guinea-Bissau - which was always of only marginal interest to the Portuguese rulers - the vernacular is Crioulo, while Portuguese is merely the written and "official" language. And they have some of the heaviest drummers there. In Cape Verde the daily language also is Crioulo (which differs from that of Guinea-Bissau, but with some effort both can understand each other), while Portuguese is the "official" language. But even within a small country like Cape Verde, there are strong differences in dialect between different islands. Equitorial Guinea was a Spanish colony, not Portuguese, and hence Spanish is the official language there. I'm not Portuguese, but I live in Portugal and have lived and worked for many years in Cape Verde (still go regularly there) and am fluent in Crioulo.

Comparing the difference between Portuguese vs. Brazilian with that between British vs. American is more apt.

Logan's Satan's Dance was a favorite of us and we played it a lot. I'm talking about Europe mid 1960s.

Don't know where you've got that from re: Brotzmann's non-reading, but I for one know from personal experience that Brotz's music reading was fine, at least in the late 1960s.

Danny Barcelona (long time Louis Armstrong drummer) was from the Phillipines

Yes, indeed! Anybody know Michel de Villers, the bari player in this video? What's his deal? And saxophone geek question: What kind of horn is Byas playing in these vids? There's that weird thing on the neck octave vent... Byas was playing a Dolnet, which had a custom made octave valve in the shape of a snake (with open mouth).

No, there isn't. The nearest is a clip from the Molde festival, Norway, August 1966, with Kenny Drew, NHØP, Alex Riel: http://www.youtube.com/watch?v=bwqLW7sgmF0 I'll Remember April (incomplete)

Most _authorities_ maintain that Round Midnight comes from Carnegie Hall, March 1965, but I wouldn't be surprised if it was from Town Hall, May 1, 1965. I never understood how anybody could think the drummer is J.C. Moses. Yes, some reissues (including the Japanese cd I have, which doesn't have the adiitional tracks) list him, but it's definitely not Moses. The latest word on it is that the trio tracks are in fact those by Scotty Holt and Rashied Ali, made by Stollman. The other solo tracks presumably stem from the same date or at least from the same period.