mmilovan

No, not with Prez, Milan but... did you hear about this one? Guess so! http://www.rainerjazz.com/CD/Frog/DGF31.htm Gee... yep, I know that one How dumb am I

Nice proposal for reading, Agustín. A somewhat compicated idea (with no sound evidence) for a book...

Yep, I have some marvelous LIVE date (from around 1955. LP says "Storyville club") with Teddy Wilson Benny Goodman, Braff, Paul Quinichette, Milt Hinton and few other players. It is on some Philips LP, a bit quiet recorded, but two sides run around 60 minutes in length. This is the music that became part of me through years of very close listening. Don't know if it was reissued on CD. Higly, highly recomended listening.

Esspecially, these standards are so high when speaking of issuing rare unknown materilal from 78 rpm sources. Think they have very carefull engeneers that looks for best sound available and records in good condition. They never steal others people material, and theirs booklets are always full of discographical material. Nice work, if I may say.

BTW, what year Fletcher disbanded his orch?

Thanks, brownie. These are the words... B-)

Big Al, just received mine package with 2 discs. I'll give them a spin. Thanks.

Is there transcript of famous Downbeat blindfold test Pres did for Leonard Feather? Milan, the Lester Young/Leonard Feather BFT that appeared in the November 2, 1951 issue of Down Beat is included in 'A Lester Young Reader'. Great read... Many thanks, brownie. I can still remember one comment from that BFT Pres did (it is the only quotation I know... goes something like "All day, all night music, just play it to me"). This blindofold test was listed on Leonard Feather's site for future release (text or web form). Somehow, I understood the audio source still exists, so it can be the third known (to this date unissued) audio interview with Pres. Fourth one I found in Library of Congress (don't ask me where, all I know it is unissued also, and it is from around 1949.) And AllenLowe, please send greetings to your's friend - Mr. Porter! His book helped me to clearly understand music of my hero, so many years ago, and to put him as the most important musician ever heard in my life. BTW, anyone here read Buchman-Møller book (two vols) on this subject? Any comment?

Agustin, as far as I remember, somehow you've already have that book first published by Twain publishers, right? Ashamed to recognize I still haven´t read the book, Milan. Well, must say that it was a way too much filled with the analysis and examples (of course, those samples are priceless, nothing wrong with them, only too much), but in another way it was awesome: Porter was the first to bring out to light some facts and thoughts about Lester that are so different from until-than current picture produced by jazz critic (you know all those “during-postwar-career-Lester-never-played-like-when-he-was-with-Count-Basie” stories). Don't know much about Moller's book, someone said it was too straighforward and to some extence "flat", "boring", but these are other's people oppinions, not mine.

Is there transcript of famous Downbeat blindfold test Pres did for Leonard Feather?

And how is that entirely different form Oscar Peterson's supporting (sorry Osc, I like you very much, but it was terrible to show all that superb techique behind ill and ruined man, unable to move his fingers) Pres on 1955. Verve session (especially on "One O'clock Jump" title). Still, Pres blew everybody playing "Talk Of The Town" and "That's All", saddest, tragical, while deepest moments in entirely history of recorded jazz, IMO.

Agustin, as far as I remember, somehow you've already have that book first published by Twain publishers, right?

Buddy Bolden's sister? Buddy Bolden after having sex changed?

The same with me. Yeah, right, his music is polished, and has narrower dynamic if I can put it in that way, and minimalistic approach in some points, but... boring... mechanical... Don't really know - the man was so imaginative while doing his solos than most of the others, of course IMO. But I think there is a problem - most of the people never listen to Wilson that closely. They often connected him with Goodman trio/quartet, and - that's all. One of the most interesting point is how well Wilson know the chords and harmonies, and has perfect piano execution. I've listened to "You Go To My Head" from Mosaic set, and still I'm amazed how he pronounced underlaying harmonies at second bar of the song (after the phrase "You Go To My Head"...).

Big Al, many thanks for your transfer job, and for answers as well. Enthusiastic comments from you and all members here are always welcome.

Oh, and cannot wait to hear what was published back in 1957 about Braf and accompaniment (if I understood everything correctly)...

I've read in some PC magazines that cracked CD can be dangerous in fast spinning CD roms (there, while spinning around several thousands revolutions per seconds - it can be smashed in pieces seriously ruining the device) so return it as far as possible.

Didn't Katz also write those real nice and very informed notes for the 2CD reissue of all of Columbia's Monk solo sides? A real good writer he is, too (besides being a real good piano player, of course). ubu BTW, origin of the above statement about Evans and Teddy is form Katz, also. It’s interesting how Monk and Wilson respected each other. Wilson told that Monk “invented be-bop” (Wilson: “I know. I was there”). Now, there is another one. At the other hand, Monk mentioned Wilson as his only influence (besides himself ). I like Tatum’s words he wanted to play like Teddy.

Don't have that number of Downbeat, so - what's exactly there in that article, if you're please P.D.?

His small combo sides for Brunswick during mid 1930s were so popular and had great impact on music as well on jazz. Discographical research will tell more about all those combo settings, but it occurs to me that Columbia/Legacy has something to do with these... Highly recomendable, despite huge amount of vocal numbers.

Jsmgry will help with sending CD to MartyJazz http://www.organissimo.org/forum/index.php...pic=14822&st=60 And many thanks Big Al for your help.

Well, that came to my mind yesterday, while listened to essential recording of his “Just a Mood” with Red Norvo, Harry James. There are no words to describe highly individual approach from Norvo and James on that mid 1930’s session that extended across both sides of then current record 78 rpm format, but main hero that dominates is Wilson himself. The piece is of course ordinary 12 bar blues, and from the very beginning till closing bars, you can almost forget it is not blues structure but some classy composition. Perhaps for this piece Teddy surely deserves words that describes him entirely: “Bill Evans of the Swing Era”. Saw-tooth alike phrases that originated from Earl Hines were polished into pure diamond, while still they are not diluted into cocktail type music, arpeggios that means only for itself (that was part of many other pianists with jazz or jazzy oriented style), or running-through fire till death, or mechanical rhythmic patterns often connected with boogie-woogie or stride followers. Wilson’s music is highly concentrated, full with surprises if you can listen to it carefully, no matter if he is main soloist or just accompanist. It is not pure minimalistic Basie approach to listen to, nor it has odd irregularities like Thelonious Monk, that are so magical to analyze and discover, nor it is so self-conscious and self-indulgent as i.e. Oscar Peterson’s music you can kick your *** with (well, at least sometimes it works for me). It is jazz piano in it’s essence and only few names on that instrument has it also (I can think of Bud Powell that has similar inner strength) IMO. That’s why most people don’t care for Wilson. He is only one historical master, once played behind Billie and in Goodman’s combo (and there people were impressed by Krupa’s extrovert “body language” drum solos, or Hampton’s hot mallets, or Mr. B.G. playing, then with Wilson’s carefully articulated clever piano). Artie Shaw once said that the whole thing with swing/mainstream jazz is, if it’s good, you almost want to grab instrument and play it alongside with musicians – feeling of freedom and enthusiasm, and filled with positive happy thoughts. I, myself had that same feeling while listening opening Teddy Wilson solo on “All My Life”, tune Ella Fitzgerald recorded with his small combo back in 1936. - to sit down and try to repeat some of those percussive downward intervals/chords followed by two or three support touches with the left hand, you know.

I am jazz-aholic, I must admit that loud and clearly. Everytime I have some money earned I’m in local CD shop seeking for what to buy. I can remember myself grabbing CDs in large quantities, even they often are with not so many useful info (remastering of some historic titles “done” by some EU – Holland company), and other anomalies. Then I have friend who has around 4000 of them. Then I know many collectors. Then I have pretty decent collection of older vinyl LPs. Then I have friends from this board. I must admit also, never sold on eBay not one single piece form collection. THEY are all mine, mine, mine! All those shiny round disks with tons of music on them. And I know, I’m sick, stuck in this bad habit forever.

Cheers to you all beautiful people, and many many, many thanks!