Duvivierlover1960

As usual, I stand corrected, now I will go buy the CD.

Does anyone have any idea as to why Kenny Burrell's 1974 offering on Fantasy called Stormy Monday Blues never got released on CD? I found a copy of this LP for a whole dollar in a college bookstore and took it home and listened to it and it is a superb mood altering relaxing piece and I looked it up and it has never been released on CD. I am mystified as to why and maybe someone here has some insight as to this. Was he over recorded( I don't think so), or was this just a continuing oversight? All insight welcome

I had not heard of the Art Tatum Music Minus One, I know Gigi Gryce did one as well as Hall Overton, I really want to get some of these for myself, willing to part with some of my rarities of my collection for them. I would at least like to know the various titles of them so i can begin my hunt for these treats. If you have names of the various artists who did them, please help.

Duvivier lover here again and I am looking for someone who has the rare Music Minus One Lp's from the late 50's and early 60's, basically play along records where the composer left off one instrument for playing along for practice. George Duvivier was on a wonderful one that Mal Waldron arranged in early 1961, it has Roy Haynes, Tyree Glenn and Seldon Powell (catalog number 4008) and I heard it on WKCR's recent Roy Haynes tribute. I am seeking the whole series really but am looking for information of anything any of you guys know about this series and I am sure someone has some information on these, am looking to collect any or all of them if possible, thanks in advance and no confrontation this time, i am sure this is George on this lp, listening to it about 40 times before I make this post. Any info ron this series will be well apprecitated.

To answer the question above about favorite Duviver recordings, I will gladly answer, here are my 10 favorite George Duviver recordings, all from my collection and stuff I have listened to dozens of times to each: 1. Herbie Mann- Flutin The Bird ( Savoy reissue of the original rare 1957 recordings, especially dig marmaduke and Now's the Time, his strongest work ever) 2. Ben Webster and Harry Edison - Ben and Sweets ( especially dig Better Go Now and Kitty from this 1962 Columbia lp, one of Ben's last before Europe trip) 3. Coleman Hawkins- The Hawk Swings 4. Lockjaw Davis - The Cookbooks Vol 1-3 5. Oliver Nelson and Eric Dolphy- Straight Ahead (Especially the cut Ralph's New Blues) 6. Eric Dolphy Out There (The duo of Duvivier and Ron Carter is fantastic) 7.Vic Dickenson Quintet ( This rare 1975 lp has a cut called Ding Dong where George plays like a monster especially his long solo) 8. Shirley Scott Girl Talk ( This Impulse LP shows why there was no bassist with an organist, period.) 9. Jimmy Smith- The Sermon ( No, not that one, the 2nd version done for Verve in 1963, listen to George tear up this track like only he can) 10.Shelly Manne 2-3-4 Superb playing by both Coleman Hawkins and by George as usual After i get some feedback on these dates, I will add a second set of ten and then a third if needs be, for I can't say I only have 10 favorites from George when he has so much stuff I like. I also love Ron Carter, Milt Hinton, Oscar Pettiford, Sam Jones, Doug Watkins, Ray Brown especially , Mingus and who I think was the most talented bass player ever, Paul Chambers. Comments welcome.

Let me see if I can clarify my position one last time: My contention is that George is not on the whole date since having seen the LP cover, having his own discography (Bassically Speaking: An Oral History of George Duvivier) and having listened to the whole date multiple times, my first point was that it did not sound like him at all, from the many dates he recorded around the same time period. After consulting his discography and see that he remembered the date and notes playing on 2 songs; Airegin and Doxie, another point is that his discography has him on another session on October 4th, the 2nd part of the Hayes date, playing alongside a vocalist called Barry Darvell on Atlantic 2138. I say all of this to say that I have become accustomed to his sound over repeated listens and when I first heard the date, my thought was " that's not George", further investigation into the date proved from the helpful LP cover listed earlier on this post that George was indeed present, but since the sound was different, were there any other possibilities? Since I knew of bassists borrowing other basses from fellow members of their craft ( Henry Grimes and Doug Watkins swapping basses on a Billy Taylor date, Ron Carter and Sam Jones using the same bass on a date when Jones played cello on a few cuts of a Cannonball Adderley Paris date in 1961, Charles Mingus and Doug Watkins using the same bass when Mingus played piano on a Atlantic date, etc) I tried to see what other possibilities existed since I was not even born when the date occurred and obviously was not there. The first thing I noticed as I said before was that the bass player on cut one was different than on the rest of the LP. My guess was based on sound, but since I am a big fan of bass players, my ears told me it may be Wendell Marshall, if the whole date was indeed George, and it can be proven beyond the shadow of a doubt ( I think someone should ask Clark Terry since I think he is the sole survivor of that date) I would concede, but I have heard too many dates of George to just say it is indeed him, this is based on both style of playing and the sound of the instrument, both are different than what I am used to from him, hence my assertion that it may not be him and no one has proven me totally wrong yet. Probably, sure, totally wrong not really. I still say I have serious doubts if he is on the whole LP, based on his own discography, the Tubby Hayes discography quoted above by my good friend Pete B and the fact that George 's discography has him on yet another date on the 4th of October 1961. My ears just suggest to me that he was not on the entire date and that's my opinion and I am sticking with it until proven wrong, I have heard too many dates with him to not know what he sounds like. That is why I suggested that maybe another bass was may have been used or something else was amiss we may never know about. It just does not sound like him, I wish someone else would do what I did, which is listen to 7 or 8 of his classic recordings of that time period like Ben And Sweets, Banned in Boston by Illinois Jacquet, Budd Johnson's Blues by Budd or Downtown Manhattan or even any Arnett Cobb, Lockjaw Davis or Shirley Scott date or even the many Gene Ammons sessions and then go back and listen to the Tubby Hayes date and see if they sound like the same player, sound, intonation, technique, everything. I don't think so. Could it be him? Surely, I was not there to see that it was not him, but my ears suggest something else was amiss like another player or instrument or something we may never know about. Let the responses begin, I can defend myself if needs be. If not, nice to hear the differing opinions about a bassist I absolutely love listening to.

This Curtis Fuller lp has indeed been released on Japanese cd and I do have a copy of it, good but not great is the best way to describe and they did indeed drop Fuller from the label after this effort, this one is for collectors only not connoisseurs. he does have another Impulse date with he great Jymie Merritt and Freddie Hubbard and the effort is much better on that one.

One more comment on this matter: any one who is interested in making a comparison, listen once more to this Tubby Hayes cd New York Scene and then go pull up some classic Duvivier dates like The Hawk Swings Vol 1 and 2 by Coleman Hawkins or any Shirely Scott Prestige lp,a ton of Etta Jones lp's like Don't Go to Strangers or Shelly Manne's 2-3-4 or even Herbie Mann's Flutin' The Bird (his best work ever, in my humble opinion) or even Straight Ahead by Oliver Nelson and Eric Dolphy and then go back and listen to the Tubby Hayes lp once more and tell me that is George Duviver playing on all of those cuts. I am fortunate enough to have over 500 recordings with George on them as I have been collecting him for 15 years and have gotten used to his sound, all of those records I mentioned were recorded in the same time period as the Hayes and see if the sound matches. The only other alternative I could think of is did he play someone else's bass on the date? Was his bass in the shop for repairs that day, for that was not his bass if he was indeed the player. I know this happens for when Ron Carter was breaking in in the early 60's (another favorite bassist of mine along with Paul Chambers, Ray Brown and O.P), Carter would often use Sam Jones' bass when Jones would play cello in the Cannonball Adderley quintet so anything is possible, but until conclusively being proven wrong and I sure do leave room to be, i am sticking to my guns on this one, been listening to George for too long to not know when something does not sound like him.

Ok guys, I was busy yesterday and was not able to get back on the board, I consulted George Duvivier's own discography which was written by Edward Weiss and George himself helped him to compile before he passed, George was on only 2 cuts of that album, which was done in 2 dates, the cd release has additional tracks than the lp, and George is on Airegin and Doxy, according to his own discography, the extra tracks on the CD, clearly are someone else, it is not uncommon to have extra tracks added to a cd and for a date to take place on different days as it says in his book, one session was on October 4 of 1961 and the other was 2 weeks later, so George was on the date, just not the entire date as his own discography attests to. End of story, he plays on 2 cuts. As for the lp cover, maybe they were a working group playing club dates for a short while and the picture was publicity for the LP release.

I have no issues with the LP and the CD both saying that Duvivier was the bassist, they are consistent in saying that, my contention is that my ears tell me that the sound and the style of the bassist on that date clearly are someone else rather than Big George. I will leave room to be wrong, but having heard him as much as I have, and clearly being able to hear that there is a different bassist on the first cut than on the rest of the date and all of it being credited to Duvivier, I simply think a mistake in crediting was made, which is not that far fetched, Duvivier appeared on well over 1000 credited recordings and who knows how many uncredited studio and Today show recordings. All I am saying is that a mistake was made in this instance and I intend to prove it by tomorrow.

I beg to differ with the consensus that says that that session had the great George Duvivier on the bass, first of all, there is a different bassist on the first cut (possibly Wendell Marshall) than on the rest of the session and having listened to over 500 recordings of George Duviver, especially from that 1960-61 time period, the sound is totally different than what we are used to from him and I will clear this up by checking his discography that I have of his when I get home tonight and report back tomorrow. I am a huge fan of his and have listened to him for the past 20 years and am pretty familiar with his sound. Mistakes are sometimes made, for instance on a Oliver Nelson 1960 Prestige Lp called Main Stem, Duviver was credited as being the bassist and my ears clearly tell me that it is Wendell Marshall

Very surprised that no one has mentioned his outstanding playing on Bluesnik, which is a Jackie McLean lp, but Hubbard had a great set of pipes and was also superb on: Open Sesame Hub Cap Blue Spirits Roll Call (Hank Mobley Blue Note LP) Doin' Alright ( Dexter Gordon Blue Note Lp, his playing is outstanding here as well. Ready For Freddie First Light (Maybe a bit commercial but I like it) Red Clay Polar A/C Keep Your Soul Together The Blue Note 1985 reunion DVD with Ron Carter and Herbie and the gang Empyrean Isles Any date with Ron Carter backing him up is superb (shows my bias towards Ron, but who cares?) I will now go fishing in my vast collection and see what obscure dates from him I can find, quite a chore when you have 5000+ to go through, but Hubbard is surely worth it. RIP Freddie, you did us well, will listen to the Ken McIntyre Complete UA recordings as sort of an eulogy for Freddie since he was good friends with Ken and Ken also passed from a heart attack as well.

Your ears will thank you for not listening to them for some time, he can be really far out, except his two or three collaborations with max Roach which are bearable. try Gene Ammons instead.

Here is the Billboard report below, he had a heart attack Nov. 26 and never really recovered, I wonder how much of this is attributed to his many years of drug and alcohol abuse? Jazz Trumpeter Freddie Hubbard Dies Freddie Hubbard December 29, 2008 03:14 PM ET Jonathan Cohen, N.Y. Jazz trumpeter Freddie Hubbard, who played with legends such as John Coltrane, Ornette Coleman, McCoy Tyner, Art Blakey and Herbie Hancock, died today (Dec. 29) in Sherman Oaks, Calif. Hubbard, who had suffered a heart attack on Nov. 26, was 70. Born in Indianapolis, the artist moved to New York in 1958 and quickly began playing and recording with Coleman, Coltrane and Eric Dolphy. In 1961, he released "Ready for Freddie," the first of many collaborations with saxophonist Wayne Shorter. Hubbard's "hard bop" stylings can be heard on some of the landmark free jazz albums of the 1960s, including Coleman's "Free Jazz" and Coltrane's "Ascension." In the 1970s, he recorded more commercial-leaning albums for CTI Records, and maintained an active presence in the studio and onstage throughout the 1980s. Hubbard was bestowed with the National Endowment for the Arts' Jazz Masters Award in 2006. According to a spokesperson, a New York memorial is being planned.

Also worth seeking out are his three Metrojazz lp's that he cut in the mid fifties with milt Hinton, Johnny Cleveland and a host of all stars, he was a great horn player and I especially love the Rat race Blues and the cut Frankie and Johnny as well as the Jazz Lab stuff of course, with super bassists, Wendell Marshall and Paul " Onion Head" Chambers, if you have that LP you will understand the Onion Head comment.