mmilovan

Welcome Emilio! Just two questions for all members: Did Ernie played alto in Glenn Miller's band? As far as my brain serves me right, he did. Also, later, he played (tenor?) in Harry James orchestra I think... don't know, maybe I mixed something...

Yes, they did it, already. But I am positive about that date because I have heard the disc about 5 years ago and transferred it to cassette tape. It was probably Charly Le Jazz CD 4 Lon referred to. There were some beautiful takes from another LY early fifties broadcasts with John Lewis and Papa on that disc, to fill the space.

I am sure that whole set was issued as separate CD, but I didn't find it on Google.

Have some of the members of this board have experience with Pro-Ject turntables, especially with 1.2 and rpm 4. I am in preparation of purchasing one of these models, so it would be nice to hear opinions. Thanks.

Noone knows about Joe Guy? Well, Joe Guy was advanced swing trumpet player (he was member of Coleman Hawkins orchestra in 1939. when Bean recorded "Body and Soul"), and one of the pioneers that take some competition at Minton's with Christian, Monk and others. He had strong relationship with Billie through 1940's, but whole thing droped, because he was nonresponsible drug addict. Dispite all that, he was good trumpet player and he can struggle with moder harmonies. Something like Howard McGhee. When did he died?

As well as Pres This is good question. While on JATP Pres did the tours with some of them such as Getz and Zoot Sims whom he admired. That was last year of his life. I saw disc from 1955 JATP concert with George Shearing, Basie, Stan Getz and Pres. And Pres did recorded altogether with Paul Quinichette on at least one date (live) with Basie band. More interesting question would be: if they recorded together, were there solos by either of them, one after another.

Have some of the members of this board have experience with Pro-Ject turntables, especially with 1.2 and rpm 4. I am in preparation of purchasing one of these models, so it would be nice to hear opinions. Thanks.

Jim, many thanks for encourage to discuss tracks even if we don't have a clue what artist played on particular tune. Still some of us waiting for discs, as soon as we get them - here we are!

Agustin, I don't know yet! I only know it would not be fusion. B) How about you?

Please sign me up as 23!!!

Hey people, speakin of "talking drummers"... did they reissued ON CD's Jo Jones' "007 Odissey", or whatever was the title of those LP's?

22 LP's! A dream package.

Something lesser known, taken from http://www.geocities.com/darvaksd/jazz_anecdotes.doc "Lester Young had hired a drummer who wasn't playing what he wanted to hear. During a break, the drummer tried making conversation: "Say, Prez, when was the last time we worked together?" "Tonight," sighed Lester. Prez was a very earthy man. He could say things that would really hit home. They weren't very intellectual, but he had mother wit. No one could express himself like Lester. Lester would quit the job if it didn't suit him. Money or no money. He was a very proud man and had funny ways. You could just hurt his feelings, and he would just walk off and quit. You had to know him for him to open up to you. Actually, he was very shy every way but musically. He was very outgoing musically. Prez didn't know chords, but he had an innate sense. He had an ear that was just terrific. He would make an intro by himself and he would run some of the most intricate patterns. You would think that he knew the chords. And I would ask him, "Now, do you know what chords you're playing?" He said, "No." He would just hear them. I could play any progressions and he could play it right away, but he didn't know any chord. One night in Birdland a jazz critic was complimenting Lester for letting the members of his quintet have so much solo space. Lester squeezed his eyes together and smiled. He whispered, "Yes, Prez has to let his kiddies play, so when it comes time for Prez to play, his kiddies don't be stepping on Prez's toes!" In those days jazz drummers were beginning to use the bass drum for accents rather than steady rhythm. Lester preferred the style of drumming he grew up with. "No bombs," he told his drummers, "Just chink-ty-boom for Prez." Lester called a piano player who lived in Chicago and offered him a job in New York. When he mentioned the low wages, the pianist said, "Prez, I'd love to make the gig with you, but I can't afford to live in New York on that kind of bread." Lester chided him, "Baby, you got to save up to be able to make these out of town gigs!" At one of the first jazz festivals at Newport, Ruby Braff saw Lester one afternoon, sitting alone in the sun on a folding chair, not far from the festival stage. Ruby was horrified to see that Lester was publicly smoking a joint. "Prez, what in the world are you doing?" cried Ruby. "Where are we?" countered Lester. "What do you mean, where are we! We're at the Newport Jazz Festival!" Lester half-closed his eyes and took another puff. “Then, let us be festive!” Jesse Drakes played trumpet with Lester's quintet for several years: There were a lot of people who said Prez should not have me or Roy Haynes or that type of player around him because we didn't fit. There was an interview once with Prez on a broadcast. They said, "Well, people say you got a bebop band now. Are you playing bebop?" Prez says, "No, I don't play bebop, but the kids that play with me play bebop." That's where that whole thing started. Playing with him was an education - an education I never seemed to learn. Prez always had something that puzzled me and once I thought I had it figured out, he'd come and play it another way, and I'd go home and think about it again. He never went into a restaurant to eat. I used to bring food to his room. He thought people were looking at him. But then, when you see a gentleman in a big black pork pie hat, long black coat down to his ankles, hair hanging down almost to his shoulder - people are going to look at you! He wasn't like a bandleader. He hung out with all of us. He was so down to earth. When we came to New York, we lived at the Marden Hotel on 44th Street. Nothing but musicians lived there. Harold West lived there, Bird lived there. There were times when Prez would take off with Norman Granz for three or four weeks to go to Europe, and Prez would support us. He would leave money for us to make it until he got back, and wouldn't let us pay him back. Playing with him, he was very generous with the solos, because he said, "We might be playing somewhere where they might not like me, but they might like somebody else's playing." On the road he'd knock on our door every day to find out how we were. We'd go on long walks. He never talked about music. We never rehearsed. We just played."

How can we know there are not any of live recordings with early Basie and early Billie, when so much titles remained unissued? Only time can tell.

Nero Express wich has all features as reguler Nero is free, I think.

I like his work behind last Billie Holiday's recordings.

Man, the guy is clone, I really can not believe my ears. He copied everything, breath, tone, phrasing, choice of notes... It is too much for me.

I've just recieved my disc, and I am in the process of listening it carefully. Thanks for sending it! While not capable of bringing the whole list yet, my strongest oppinion on track 2 - it is definitely not Bags nor Hamp. It sounds like Terry Gibbs with George Shearing type of playing block chords, but probably I am wrong on that one.

There is also another solution: to use overburn function on your burning software. With this function enabled, almost every disc can be burned with 702 MB files. Some brands differs in a way they allow extra space for burning aditional MB, some offer less, other offer more. There is a tool in Nero burning rom that tels you how much you may overburn any particular disc and get no problem.

Yes, it is usual story. But, the reality probably was a bit different - they didn't dance to be-bop because of high tax for dancing in clubs. And that whole thing about creating art instead of pop music I dislike. What musicians before be-bop played? Was that music bad because of no art component in it?

Don't know why they did that. For example, Holiday's Columbias are best sounding tracks from till now on despite lots of surface noise. Maybe, they did not have time for post production (and reducing the noise) for Ken Burns series.

Although it came a bit late, I am trying to put some answers before looking at the results. At firs i would like to thank for the CD sent, and express my admiration for this idea of sharpening our musical skills. Let's begin (in no particular order): 6. Sonny Stit and J. J. Johnson, playing some dameronia ("Lady Bird"?) I think it is Sonny; he has distinctive style on tenor as well as Johnson. Recorded round eighties. 2. Great Joe Williams, of course. It can be his working unit, think I found the same titles on double Verve's compilation. Williams' voice is a bit uncontrolled and harsh on edges. Recorded back in 1980's 3. Some boogaloo sessions, right? Jackie Mac??? No, the style is a bit flat, with no bop and post bop inflections. All of the notes on alto can be played by Louis Jordan as well. 4. Watermelon what? Those shaking notes remind me to Illinois Jacquet, but Arnet Cobb played the same manner. Still, I enjoyed this take. No, definitely too much notes for Jacquet. This is the way Cannonball used to play his horn. 5. Jimmy Jones or Hank Jones at the piano, emulating Basie ? Now, that is Texas tenor playing on first solo? The other can be some great musician with nice melodic sense. Sounds like Paul Quinichette, but it is not Paul himself. 8. This is some fine music played by musician inspired by late Stan Getz or people like him. It can be Art Pepper. The most beautiful track of the whole set. Still, I want to figure what was the theme of the test.

Me, too. I think that this issue, as I can observe from what all of you lucky persons who manage to get it said, is not so much different from those Columbia masterpieces they did years ago - there were also master takes only. Added remastered broadcasts perhaps are most interesting part, as well as good sounding of big band, Jones Smith group, Basies Bad Boys or Kansas City Sevens. I simply cannot understand that separate non-complete treatment of one of the most important big bands ever.

... and one have to look at the Basie discography to get to conclusion how many remained unissued.

So it is only ONE broadcast, right?