mmilovan

On the contrary I like the song so much (and I don't like "Love Me Or Leave Me" that much) as well as I like its author, George Shearing! But, speaking of tastes... not wise thing to do

No way to become a member of ARSC, but maybe we can put qouestion in another way: Any 78rpm collector, researcher, transfering engeneer, or sound preservation freak out here? I know that Hans (Durium) is quite sucesfull in this, and I, myself am very interested in this exciting activity here in my country (almost unknown in Serbia, unfortunatelly, especially speaking of protection of national cultural heritage).

Flurin, here's love, a very special kind of love... listen to this: "Ken Burns: Exactly. Duke Ellington and his band. They could be great and they could be terrible. Artie Shaw: There a lot of people talk about Duke Ellington and his band. Of course, interestingly enough, very few people are talking about Jimmy Lunceford, who had the best black band of all. 'Cause Jimmy had something in his band that Duke didn't have. Duke's essential thing was total freedom. The men could do what they wanted to do, and as a result, when they were good they were good, when they were bad they were horrid. The little girl with the curl in her forehead. The band could be terrible. And other times it could be absolutely great. So there's a great price for freedom. Very difficult to take fourteen or eighteen men and let them all go their own way. On the other hand, there's that fine line where you go too disciplined and then you end up with Glenn Miller. Jimmy Lunceford was the perfect in-between. The reason I talk about him is you talk Duke, you gotta talk about Jimmy. Jimmy had the same number of men in his band, was highly disciplined, they did the same things and they played and they showed up. Duke's men were a bunch of prima donnas. So when they were together they were marvelous, and Duke made a lasting mark. Unfortunately, people don't seem to understand the mark that Jimmy did. Jimmy left a tremendous mark, Lunceford. Ken Burns: You said Duke was a slicker. What was his attitude toward the whole enterprise? Artie Shaw: Well, Duke was a very, very slick guy. The word is slick. He dressed extremely well, he was fascinated by clothes, fascinated by women. And he lived his life in the way he did. He was a big dessert man. I don't know whether you know anything about him, but when he went on the road, he would make desserts. Duke was a sense, sensible, sensual man. And that showed up in the music. When it was good, it was tremendous. But he was a victim of his own ego to a great degree. We all have egos, some of us are in charge of them, some of us aren't. If you're not in charge of your ego, it can do disastrous things for you. And Duke, fortunately the good moments were captured. The good thing about records is you can keep the best and throw out the junk. There was a lot of junk. With Jimmy there was very little junk. Jimmy Lunceford, I keep coming back to that. In order to understand Duke, you have to understand Jimmy Lunceford." Now, I'll vote for Lunceford Mosaic, as well as Artie Shaw Mosaic! For both of them. Uunfortunatelly, Basie Columbia Mosaic probably never will happen!

My question is, actually, from this post: http://www.organissimo.org/forum/index.php...pic=15772&st=45 "Interesting interview with Shaw was published in "MOJO" magazine, about year or so. Artie spoke a lot about Basie, Lester, and it was always a pleasure to read something connected with this great musician. But unfortunatelly, don't know exact No./date of issue (if anyone collecting this, there it can be checked) - how dumb I was not to buy it, then." I will be glad if anyone can help. Thanks.

I feel sorry – last year I’ve got BFT #19, listened every single track, write down (on paper) some thoughts – sketch for my answers. Then I put somewhere in my house the discs as well as papers (help me - my cat eats CDs). And I know, thy will turn up somewhere, some day. Then, it will be such magnificent lag between BFT #19 getting and BFT #19 answering to. And now, I terribly late on BFT #21 – disc one. Here I switched disc one to disc two as part of my initial listening practice. I’m sorry.

Same. Although, I think that Chronological Classics might be the de facto choice for many of them. I will post mine sources for those in next few days.

B-)

Interesting interview with Shaw was published in "MOJO" magazine, about year or so. Artie spoke a lot about Basie, Lester, and it was always a pleasure to read something connected with this great musician. But unfortunatelly, don't know exact No./date of issue (if anyone collecting this, there it can be checked) - how dumb I was not to buy it, then.

Thanks Big Al. It's probably the same all over the world, fro generations of people born before WWII. Well, I can only imagine how enthusiastic was my father presented hi 13 y-old kid with Artie Shaw reissue or some Django Reinhardt LP of early days of HCDF. And he was born 1939., but his music until the end was the earliest he ever heard - big-bands and all that story behind it.

Hello to all, recovering from a flu I "earned" few days ago, while reducing computer activities to minimum , just wanted to send my greetings to everyone. Now, Flurin, Agustin, the last track is not from the disc I sent to you. This is another disc... But the band is the same as on first track on "From an old Cutter Head" compilation.

It can be, don't know exactly! Text was from 78online list, dedicated to collecting and remastering old records...

Artie Shaw's funeral by Cary Ginell "Just got back from Artie Shaw's funeral, which was held indoors in the chapel of the Pierce Brothers Mortuary in Westlake Village because of the pouring rain outside. Services were supposed to be public and held at graveside, but because of the weather, guests were limited to family, friends, press, and a few acquaintances (that's where I came in). It was a nice service, filled with funny stories, "Artie-isms," and of course, music. The coffin was flanked by an early photo of Artie at the beginning of his career and a more recent picture of Artie in his library, looking either pensive or annoyed. Both of these pictures were included in the program. If anyone is interested in scans of these, I'll be glad to send them as an attachment to whoever wants one. There was also the award presented by the NEA to Artie on Friday and a framed letter of congratulations from President Bush, dated November 30, 2004. There was a succession of speakers at the service, which was led by Larry Rosen, Artie's longtime secretary. As he introduced each speaker, we got an impression of a man who was not a curmudgeon, but someone who was a Renaissance Man, a true genius, and a perfectionist, expecting no more than the same from people he knew. His motto: "Good enough is not good enough" sums up his sometimes abrasive personality and mindset. Although there were many funny stories told, I couldn't commit all of them to memory, but here are a few highlights: The man whose job it was to catalog Artie's massive collection of over 10,000 books reported inscriptions in the front of three books in the library. One was by Albert Einstein, one by Sigmund Freud, and one by another famous author, whose name escapes me now. The handwritten inscription in the front of the Einstein book read: "To Artie Shaw, with profound admiration and respect." In the Freud book, the inscription read, "To Artie Shaw, with profound admiration and respect." Not only did the third book have the exact same words, but the cataloguer noticed that the handwriting was the same on all three. He asked Artie about it and Artie replied that he had written them himself, to identify the books in case they were ever stolen. As we speak, Artie's book collection is still at his house. The shelves are reportedly completely full and stacks of books are on the floor and even piled on the stairs of his staircase. Musician Tom Rainier chose to play two musical selections, which were played on Artie's own boom box that was brought to the chapel. One was a 1938 radio broadcast of Artie's hot big band playing a song that I believe was called "Everybody's Jumpin'." Artie wanted that played because it was five minutes long and gave the soloists a chance to spread out (Artie hated most of his studio sessions because of the restrictions in time). Artie took two choruses, another was by Georgie Auld, one by Tony Pastor and I couldn't identify the others. The other song was the result of an interesting experiment in which Rainier took selected snippets of Artie's playing, reassembled them and inserted them into a new recording of Johnny Mandel's "The Shadow of Your Smile." The intent was to predict what Artie would sound like if he had continued to play after 1954. The result was actually pretty amazing. Buddy DeFranco finished off the piece with an Artie-esque 8-bar cadenza that brought tumultuous applause throughout the chapel. Artie himself had admired the work and approved of it. Then Dick Johnson, leader of the Artie Shaw Orchestra for the past 20 years, played a poignant a cappella performance of "I'll Be Seeing You." Eighty-five-year-old comedian Red Buttons talked about meeting Artie for the first time. "It was during the War," he remembered, "and we were both in uniform. Artie was in his Navy uniform and I was the bellhop at the Astor hotel." Buttons recalled that Shaw's first words upon meeting him were, "What kind of a name is 'Red Buttons'? Who in their right mind would give anyone that name?" To which Buttons reported that his real name was Aaron Schwat, to which Shaw immediately responded by calling Buttons "The Sultan of Schwat." Sid Caesar was scheduled to be there and speak but he couldn't make it because of the rain. At that point, Larry asked if anyone else had anything to say about their relationship with Artie and there were a succession of very funny stories. I told of my nerve-wracking first broadcast with him in 2000 and then my final meeting with him in 2003 to discuss Bix Beiderbecke's 100th birthday. Artie's admiration of Bix was not because of the notes Bix played or his technique, it was the sound he produced on his cornet. Artie rhapsodized about this sound and the fact that it could only have come from Bix. Above all, Artie admired the individual and hated when people said they tried to play like Artie did. "Play like yourself," he'd say. When I asked him to comment on Eddie Condon's oft-heard description of Bix's sound, which was likening it to "a girl saying yes," Artie paused, shook his head and said, "Poor Eddie...He must have been pretty hard up." The end of the service came after the playing of Gershwin's "Someone to Watch Over Me" as sung by Lee Wiley, Shaw's favorite singer. It was an unusual recording, recorded in 1939, in which Wiley was accompanied by Fats Waller on pipe organ (Liberty Music Shop L-282). Cary Ginell Sound Thinking Music Research"

Claude, of course they did it (see Neuros thread), but such recorders are not "polished" to robust use, they had theirs own unwanted side effects (battery problems, HD failure), and, unfortunatelly, often theirs design is for playing and not recording use.

Yeah, right, there are a few problems but they can be solved. To my eyes, Sony has not so recognizable system of protecting everything and using formats other people never will use. I know that perspectives with this model are a bit narrowed, but as far as it works for me, its good. Unfortunatelly, noone ever tried to construct field recorders dream: machine that can easily record uncompressed audio content onto standard mini CDR (or nowadays DVD) media.

Long time avaited device was under my Christmas tree: it is SONY digital recorder and player MZNH700. The main reason I've got this baby is field recording, and all I can say Sony did fine job. Unit looks nice, and recording function is pretty nice. It can record straight stereo wav 16Bit/44KHz, and transfer to your computer is digital, so no coloration and additional noise. Frequency response is linear, distorsions are unnoticable. Everything sounds great except HiMD format that no one other use. Also, Sony software is real crap, and copywrite DRM is hardly involved, so, unfortunatelly you can not transfer your recordings fast, only realtime. As player, it can only play Sony - encoded ATRAC files, and as such, well I don't think it is fascinating gear.

.:.impossible, post his answers here. It would be real pleasure to hear from someone who lived then...

Nah, I didn't even know what present I've received for Christamas. Ok, it's close to Miles watch, not exactly that type of watch, but close. B-)

I still would like to know which exact version this is? Milan, your data is not correct. Charlie Christian's first appearance with Benny Goodman (and his first recorded date) is from August 19, 1939. He had not joined BG in July! Also that final track. Just an aside, it is Juan Les Pins. Le Pen is our neo-fascist Jean Marie... Hate to see him involved in a BFT Nice track. And a pleasant surprise! Also happy to know about the Sun Ra and Cab Calloway appearances on your BFT! Mysteries solved... Many thanks, Guy, corrected everything in my answers post. "Le Pen" sounded strange to me, but the source I ripped off track has only Serbian transcription of this jazz-famous place. Then I searched the web and found this: http://www.forcedexposure.com/artists/shep...ble.archie.html Here it is "Le Pen", but obviously it's a mistake. Now, about Goodman date, you're absolutely correct, but my source was mistaken, too. It is on some Italian LP, "I Giganti Del Jazz". Have another versions of the same tune, those were recorded after August for sure. Fletcher left BG somewhere in autumn 1939., I think. The main reason I included this version (and not some other, discographicaly more precise), is exciting, loud, strange, distorted r'n'r riff figure Charlie played in the second half of the tune. R'n'r before r'n'r, before Hendircs, before... before everyone else.

Thanks Hans. I'm watching closely to yours Hit Of The Week issues, great culturological thing and, certainly must have issues for everyone researching jazz history.

Benny Carter?

It was pleasure! What could be a dream nowadays is something that can be real pleasure in the future - issues of everythin that survived from these gem-like moments in music history. BTW, what were the misterious tracks until the end? Sun Ra, Calloway track and last one (OK, it was illustration, not real track to guess to).

Yeah, and Chu Berry was as close as Tate. But, having Milt Hinton, and Cozy Cole in that band - it really WAS something - man, what a fry - even if you don't like (that's me) Calloway's singing too much! Not to mention Dizzy, Jonah etc.

And in addition to this: is P. W. Marquette still alive? Noone like to try - "Everything is so ugly now. I don't know what happened, with that music...."

Any Old Time Sadly, this BFT is symbolically dedicated to Artie Shaw, featured on track 11, and who left us at the end of the last year. Track 01 “In The Mood” Teddy Wilson and His Orchestra Karl George, Harold Baker, Doc Cheatham (tp), Floyd Brady (tb), Pete Clark (cl) (as) (bs), Rudy Powell (cl) (as), Ben Webster, George Irish (ts), Teddy Wilson (p) (arr), Albert Casey (g), Al Hall (b), J. C. Heard (dm) Recorded in NYC, Jan. 18, 1940. Track 02 “Tailspin” Tommy and Jimmy Dorsey Orchestra George Thow, Jerry Neary, Charlie Spivak (tp), Tommy Dorsey, Joe Yukl, Don Matison (tb), Jimmy Dorsey (cl) (as), Jack Stacey (as), Skeets Herfurt (ts), Bobby Van Eps (p), Roc Hilman (g), Delmar Kaplan (b), Ray McKinley (dm) Recorded in NYC, Feb. 6, 1935. Track 03 “Easy To Get” Bud Freeman and His Summa Cum Laude Orchestra Max Kaminsky (tp), Brad Goeans (tb), Pee Wee Russell (cl), Bud Freeman (ts), Dave Bowman (p), Eddie Condon (g), Clyde Newcomb (b), Danny Alvin (dm) Recorded in NYC, July 19, 1939. Track 04 “Sleepy Time Gal” Jimmie Lunceford and His Orchestra Jimmie Lunceford (dir) (as), Paul Webster, Eddie Tompkins, Sy Oliver (tp,) Eddie Durham (tb) (g), Elmer Crumbley, Russel Bowles (tb), Willie Smith (as) (bs) (cl), Laforest Dent (as) (cl), Joe Thomas (ts) (cl), Earl Carruthers (bs) (cl), Edwin Wilcox (p) (arr), Al Norris (g), Moses Allen (b), Jimmy Crawford (dm) Recorded in NYC, May. 29, 1935. Track 05 “Star Eyes” Charlie Parker (as), Rowland Greenber (tp), Rolf Ericsson (tp), Gosta Theselius (ts) Lennart Nilsson (p), Thore Jederby (b), Jack Noren (dm) Recorded live in Sweden, Nov. 24, 1950. Track 06 “Don’t Be That Way” Kansas City Six Buck Clayton (tp), Lester Young (ts) (cl), Count Basie (p), Walter Page (b), Freedie Green (g), Jo Jones (dm) Studio recordings, NYC, June 3, 1938. Track 07 “Philadelphia Bound” Jo Jones Trio Jo Jones (dm), Ray Bryant (p), Tommy Bryant (b) Recorded in NYC, May, 1959. Track 08 “AC/DC Current” Benny Goodman Sextet Benny Goodman (cl), Lionel Hampton (vib), Fletcher Henderson (p), Charlie Christian (el g) Artie Bernstein (b), Nick Fatool (dm) Live broadcast, NYC, July, 1939. Track 09 “Yeah Man” Count Basie and His Orchestra Buck Clayton, Joe Keyes, Carl “Tatti” Smith (tp), George Hunt, Dan Minor (tb), Caughey Roberts (as) (cl), Herschel Evans, Lester Young (ts) (cl) Jack Washington (bs) Count Basie (p) Claude Williams (g,vln) Walter Page (b) Jo Jones (dm) Jimmy Rushing (vcl) Fletcher Henderson (arr) Live broadcast, The Chatterbox Room, Hotel Pasadena, Pittsburg, PA, February 10, 1937. Track 10 “Yeah Man” Sun Ra And The Year 2000 Myth Science Arkestra Michael Ray (tp) (voc), Jothan Callins (tp), Tyrone Hill (tb), Marhall Allen (as) (fl) (ob), Knoel Scott (as) (cl) (bs), John Gilmore (ts) (cl), Charles Ore (b), Earl “Buster” Smith, Clifford Barbaro (dm) (perc), Talvin Singh (tabla) Recorded live at Hackney Empire Theatre, London, UK, Oct. 28, 1990. Track 11 “Any Old Time” Artie Shaw and His Orchestra Artie Shaw (cl) (dir), Chuck Peterson, John Best, Claude Bowen (tp), George Arus, Ted Vesely, Harry Rogers (tb), Les Robinson, Hank Freeman (as), Ron Perry (ts), Tony Pastor (ts) (vcl), Lester Burness (p), Al Avola (g), Sid Weiss (b), Cliff Leeman (dm), Jerry Gray (arr), Billie Holiday (vcl) Recorded in NYC, July 24, 1938. Track 12 “Four Rich Brothers” Buddy Rich and His Orchestra Tommy Allison, Dale Pearce, Charlie Walp (tp), Marie Daone, Bob Ascher, Rob Swope (tb), Hal McKusick (as), Jimmy Giuffte (ts) (arr), Ben Lowry, Warne Marsh (ts), Harvey Lavine (bs), Harvey Leonard (p), Teddy Kotick (b), Buddy Rich (dm) Recorded in NYC, Oct. 28, 1948. Soloists: Rich, McKusick, Swope, Giufree, Allison, Leonard Track 13 “Meshugah” Chubby Jackson’s Mad Mob Sonny Berman, Neal Hefti (tp), Bill Harris (tb), Flip Phillips (ts), Tony Aless (p), Bily Bauer (g), Chubby Jackson (b), Dave Tough (dm) plus 2 (tp) and (tb) and one (ts) unknown Recorded in NYC, prob. Aug. 22, 1945. Soloists: Berman, Hefti, Phillips, Harris, Aless Track 14 “Back Beat Boogie” Harry James and His Orchestra Harry James, Jack Palmer, Claude Bowen, Jack Schaeffer (tp), Truett Jones, Dalton Rizzotto, Bruce Squires (tb), Dave Matthews, Claude Lakey (as), Drew Page, Bill Luther (ts), Jack Gardner (p) Bryan Kent (g), Thurman Teague (b), Mickey Scrima (dm) Recorded in Los Angeles, Nov. 30, 1939. Track 15 “They Didn’t Believe Me” Joe Williams (vcl), King Kolax (tp), Bennie Green (tb), Dick Davis (ts), Prentice McCarey (p), Ike Perkins (g), Cowboy Martin (b), Kansas Fields (dm) Recorded 1951. Track 16 “I’m Gonna Move To The Outskirts Of Town” Louis Jordan (as) (vcl), Eddie Roane (tp), Arnold Thomas (p), Dallas Bartley (b), Walter Martin (dm) Recorded in Chicago, Nov. 22, 1941. Track 17 “Special Delivery” Cab Calloway and His Orchestra Jonah Jones, Dizzy Gilespie, Lammar Wright (tp), Quentin Jackson, Keg Johnson (tb), Tyree Glenn (tb) (vib), Jerry Blake (cl) (as), Hilton Jefferson (as), Chu Berry, Walter Thomas (ts), Andrew Brown (as) (bs), Bennie Payne (p), Danny Barker (g), Milt Hinton (b), Cozy Cole (dm), Cab Calloway (dir) Recorded in NYC, March 5, 1941. (unissued 78 record at time recoded, first issued on Jazz Archives, JA-8) Track 18 “The Jumpin’ Blues/Jump The Blues” Jay McShann and His Orchestra Bob Merrill, Jesse Jones, William Hickman (tp), Nat Clayton, Al Morgan (tb), John Jackson, Rudolph Dennis (as), John Sparrow, Paul Quinichette (ts), Bradbury Taylor (bs), Jay McShann (p), James Skinner (dm) Recorded during “Jubilee” AFRS radio show, Los Angeles, March 20, 1944. Track 19 “Jammin’ The Blues” Illinois Jacquet And His Sextet Illinois Jacquet (ts), prob. Russell Jacquet (tp), John Brown (as), Bill Doggett (p), other members of rhythm section unknown Recorded during “Jubilee” AFRS radio show n. 219, Hollywood, prob. March 19, 1945. Track 20 “Oo Bop Sh’bam” Billy Eckstine and His Orchestra Hobart Dotson, Leonard Hawkins, Miles Davis, King Kolax (tp), Walter Know, Chips Outcalt, Gerald Valentine (tb), Sonny Stitt, John Cobbs (as), Gene Ammons, Arthur Simmons (ts), Cecil Payne (bs), Linton Garner (p), Connie Wainwright (g), Tommy Potter (b), Art Blakey (dm), Bill Eckstine (vcl) (vtb) Recorded in Los Angeles, Oct. 5, 1946. Track 21 “The Same Old Story” John Kirby Sextet with Maxine Sullivan Charlie Shavers (tp) (arr), William “Buster” Bailey (cl), Russell Procope (as), Billy Kyle (p), John Kirby (b) (ldr), William ‘O’Neal Spencer (dm), Maxine Sullivan (vcl) Recorded in NYC, prob. live, circa summer, 1941. Track 22 “Gone With The Wind” Fats Navarro and His Band Fats Navarro (tp), Ernie Henry (as), Tadd Dameron (p), Curly Russell (b), Kenny Clarke (dm), Kay Penton (vcl). Recorded in NYC, Oct. 28, 1947. Track 23 “The Lady’s In Love With You” Nellie Lutcher (vcl) (p), Ulysses Livingston (g), Billy Hadnott (b), Lee Young (dm) Recorded in Hollywood, Apr. 10, 1947. Track 24 “Greetings To Count” Radio Belgrade Big Band (Serbia, ex Yugoslavia) under the leadership of Vojislav Simić (arr) (dir) Large group of musicians (not yet identified in full until now) included: Predrag Ivanović (tp), Eduard Sađil (ts), Vladimir Vitas (p), Radivoj Milivojević “Nafta” (dm) – these are the main solists here. Other persons probably were: Franjo Jenč, Predrag Krstić (tp), Predrag Stefanović (tb), Milan Stojanović (ts) Miloje Đorđević (b). Recorded in 1960. live during competition contest in Juan Les Pins, France – first prize winner band for that year. Many thanks to participants who were patient enough to finally get the answers, and thanks to all of you beautifull people.

Stan Getz? And, while waiting for another one, I have another: "Everything is so ugly now. I don't know what happened, with that music. It's political, it's angry - anything but musical. Where is it written that music should be unpleasant? Life is."