John L

Sorry, that was a typo. Yes, he died on Dec. 18, 1987. This recording was made on Dec. 15, 1987.

Actually, Warne Marsh died on December 18, 1957. So it was recorded 3 days before his death, most likely the last Warne on record.

It is apparently the last thing that Warne Marsh ever recorded in a studio. Personal Statement : Warne Marsh (ts) Van Nuys, CA, December 15, 1987 Introduction Jazzbank/Archives (Jap)MTCJ-1050 [CD] Statement 1 - Statement 2 - Statement 3 - Statement 4 - Statement 5 -

Amazon now lists the price for the MP3 version (released on September 2) as $3.87 in contrast to the CD price of 32.98.

This may be due in part to the fact that people like Coleman Hawkins, Dizzy Gillespie, Charlie Parker, Bud Powell, and Miles Davis began covering Monk's compositions almost immediately, and often smoothed them out into more typical bop vehicles. So more recent covers of Monk are often covers of these covers rather than covers of Monk proper.

The Lord Discography also includes his recorded dates as a sideman. But it is too long to paste here. If there is a specific question that you have in that regard, perhaps it can be answered.

There is a Birdland broadcast shortly after the Little Pony session in April, 1951. Basie is still using an octet. Perhaps Hefti just filled out the octet for that one session. The big band that next recorded in February, 1952 for Clef had completely different reed players except for Marshal Royal and Charlie Fowlkes.

Those are some classic albums with the possible exception of A Blowing Session. For Johnny Griffin, I would have been more inclined to choose his first album (Introducing Johnny Griffin). Of course, we can think of many other classics, beginning with Thelonious Monk, Bud Powell, Herbie Nichols, Sonny Clark, Sonny Rollins, etc.

Very sad news. Gaslini was a living musical giant. RIP

Thank God for both Max Roach and Art Blakey. They both led some of the greatest jazz bands. Their approaches and bands were very different. So the question here is very hard to answer.

A number of excellent newer releases have been on Dark Tree Records. I have been particularly enjoying "Robert Miranda's Home Ensemble: Live at Bing Theater." It features not only Horace Tapscott but John Carter & Bobby Bradford.

ditto. D)

It seems to be working now.

Great to have you back, Larry, and congratulations on the good news.

Thanks.

Jack McVea had a trumpet player in 1946-1947 named (it would seem) Joe "Red" Kelly. Discographies seem to list this name alternatively as John "Red" Kelly and Joe "Red" Kelly. The new Mosaic Black & White Set lists the trumpet player on the "Open the Door Richard" session as "John "Red" Kelly" but then lists the trumpet player on the immediate follow-up session for Black & White as "Joe Kelly." Presumably, this is the same person? It sounds like the same guy in both sessions to me. He gets off a really nice solo on Bulgin' Eyes from the Open the Door Richard session despite flubbing a few notes.

Maybe the subtext here should be "modern jazz for butt shaking." Before WWII, a lot of jazz was for butt shaking. But most modern jazz is not. Sometimes it might be good for toe tapping, finger snapping, head nodding, even shoulder wiggling, but rarely for full blown butt shaking. Some of the tracks mentioned here are good exceptions. Herbie Hancock's Chameleon is a classic in that regard. Deodado's Super Strut was another dance floor burner. I was living a lot in Ethiopia in recent years. Most Ethiopian Jazz is aimed directly at the dance floor, and still today. Then there is Latin Jazz...

Your grandfather was a truly great trumpet player.

It is interesting that she works at a federal agency but cannot get any vacation time. Usually, the government is pretty good about that. It sounds like she could really use a bit of time off from work right now to both relax and work on getting herself together. Perhaps it could even qualify as sick leave. Is that impossible?

I am also listening my way though this fascinating set. While the high quality of much of this rather obscure music is striking, I worry that this will still be a set that I will still rarely pull off the shelf after I finish a single listen. I am therefore planning to put some of the best material into playlists so that it won't be forgotten.

I really like Gato's work in the 70s, including the mid-70s Latin America series on Impulse (Chapter 4: Live in New York from 1975 is probably my favorite). For Pharoah, my preferred vintage is late 60s-early 70s. Not that he didn't record a lot of good music after that.

He had one of the really distinctive voices. RIP

Holy Ghost - My interpretation is a bit simpler than yours. Gato went through a number of stylistic periods (evolutions) in his career. I think Jim was just pointing out that some of his earliest work in avant circles, before he went off in his own musical directions, is worthy of exploration in and of itself. I didn't read anything more into it than that. But maybe Jim and CT can clarify.