mmilovan

So, this is already 13th page of our test, and many people already guessed things. I will write down things I really know (I will be discreet as much as I can), but there are huge amount of material that sounds new to me, so I guess I can be wrong with most of it. Disc 1 1. It is very interesting piano playing. Still, I don't have clue what it is. 2. Another good piano work, but...? 3. This is West Coast like arrangement, so it can be some of them bands worked there. Trumpet player with his staccato phrasing reminds somewhat to Roy Eldridge, but probably he is not the player here. Altoist has that very interesting tone, it can be Lee Konitz, I am not sure. 4. Well, this is interesting! Trumpet player with plunger reminds to Cootie Williams, trombone is like Lawrence Brown, there is pretty fast baritone player, and awful fuzzed guitar that I dislike. And also clarinet that reminds me to pre bop clarinetists. And all those high notes like Cat Anderson used to play. All suggest deepest respect to Ellington's sound, I am interested what this could be. 5. "That's My Desire", don't like the vocal. Arrangement reminds to Count Basie post war Hefti's things but it can be Quincy Jones. Alto player reminds to Marshal Royal... probably it is not. And, piano sounds like no Basie at all. 6. And this is beautiful vocal done by... Helen Merrill, no...??? Beautiful voice, good tune and string support done well. Fine take, I like it. It is not jazz at all, but easy listening music. 7. Interesting playing, I don't have the idea... 8. "Perfect Love", tenor has that fat, strong tone, with bop inflections... like some Texas tenors. I don't know, it can be Jaws, but he was a bit harder with all that growl and other effects. Jacquett, Arnet Cobb maybe, or Gene Amons... I don't think it is Stitt. 9. ? 10. It is legendary Baby Dodds, you can't be wrong! No? Zutty Singleton has that similar pre Walter Johnson/Jo Jones feeling for using cymbals, but art of woodblocks can only be attribute to Dodds. If it is not, than nothing... This is the way he played those drums behind Louis Hot Fives and Sevens. I know - IT IS MAX ROACH! :) It can be Sidney Bechet, he played drums also in that style. 11. Very early WWI recording, or recreation of that period. Acoustically it must be recorded during that period. Oh my, what it is, anyway? 12. Lester Bowie? It is not Ornette, hmmm... that free jazz driving me nuts to guess. 13. Pefect swing band. Late live Woody Herman? Chart is good written and solos by tenor, alto and clarinet reminds to Woody's Herds. Alto - Art Pepper? Tenor... No it is not Zoot, nor it is Getz. Jimmy Giuffrie or Serge Chaloff, maybe, but audibly it is not from 1950-55 period, so - damn trick question!!! Sax lines recreates that four brothers sound, on clarinet it can be Woody... 14. (one answer from member of "Lester People" fan club) "Almost Like...", of course. And almost like Pres! Lester recorded the same tune for Verve two times - with Peterson and in 1959 with french musicians. Great standard, and great tenor, if I may say. All I know it is NOT Getz - or maybe he is drunk to death (no fast passages), nor Zoot (no specific tone and tembre), nor Quinichette (no specific triplets and licks)! It can be Wardell or Marsh, maybe. No, Marsh had that advanced harmonic sense. The tone of guitar player is the same as for Clifford Brown/Sarah Vaughan session, and piano is good - it easily can be John Lewis. The guitar didn't do anything to me, there were more capable players than this one. Well, this is hard guessing game... Another thing, it clicked right now: I am almost certain that according to way drummer answer in trade fours with piano and sax it is - Papa Jo, or someone who emulates him (Gus Johnson). And of course, both of them recorded with Pres in early 1950's. Interesting. 15. How strange people today don't recognize "Bill Evans of the Swing Era" on piano, with his old friend (from the same era), probably supported with the same musicians that recorded similar album with Dex Gordon. It can be Candido on conga and George Divivier on bass. I hate that electrically amplified bass sound (although I like Divivier), it is awful recorded, with vibraphone sounded like poor children's metalophone. Probably it was recorded around 1975., I KNOW THAT I don't KNOW on what album it is. Two old friends recorded this dumb tune back around 1939, with great John Kirby on bass. I listened more closely to the track. It can be Earl Hines, also! No smooth sound in bass left hand lines Willson is connected with. Jim, these are perfect questions that lead to maddnes. Anyway, I like this type of music. Disc 2 1. Fusion. 2. Ornette Coleman? 3. Mid seventies disco... George Benson, maybe 4. ? 5. This is trick question. Two of the musicians are Bud Freeman and P. W. Russell, you can recognize them immediately. But, the same group recorded that kind of material with Buck Clayton, Vic Dickenson and Jo Jones (Basie stars that played Dixieland!!! that was what they wanted to hear from those giants... bloody producers... ) in Boston. This can be form the same or similar occasion. Mid to late 1950's. I dislike the idea of putting musicans from one school to play the material from the other (such as in Boston example), but anyway, I like the overall sound on this track. 6. Rather interesting tenor but what it can be? 7. ? 8. Of course, it is great Holy Man with his Unholy presidential sideman! It is live recorded (broadcast) during less known, officially not recorded 1943-44 period, and despite I do not own exact broadcast the title can probably be something like "Kansas City Stride" or anything like that. (Agustin, location can be Sherman Hotel, and Sweets drunk 2 beers already :) ) These are rare recordings, and not reissued properly until today. Jim, many thanks for bringing these rare of them rarest gems to all of us. Unholy throws perfectly constructed extended solo (oh man, THOSE free licks - it is free jazz, yes, people free jazz at his prime early form) that was amazing then. And it is amazing today as well! 9. Not Rollins... ??? 10. It is some old singer singing new stuff. 11. ? Again, Jim, many thanks for all this good music you brought to our community.

It is pitty how so good musician can be forgotten. Auld certainly was strenght of BG sextet and combo sides at begining of 1940's. I like his "a la Webster" approach, he had nice sound.

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."

I've read somewhere that Irving Mils voice was overdubbed on some studio Ellington's recordings - Mils explained such things as live from Cotton Club - so, some of them are fake one. Hope that such kind of material are not included in this set.

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.