king ubu

EKE, I found this: (source: http://www.tedkurland.com/pbuild/tourdates.cfm?view=SRO) Not in Spain, I'm afraid... ubu

I did not find any information on the www. However, do find out fast, it will be sold out, I guess! That concert was the only one he gave in switzerland. He seems to give around 20 concerts a year, only. ubu

The standard by Irving Berlin - Sonny seems to play this quite often. ubu

Alix Combelle's glory day was his participation in the April 1937 Swing Records session led by Coleman Hawkins (with Benny Carter and Django Reinhardt) which produced 'Honeysuckle Rose' and 'Crazy Rhythm'. Coleman Hawkins was in top form throughout the date but Combelle managed to shine through on those two tracks where he shared the tenor saxophone solos. He played clarinet on the other sides from the session. Classics has released at least two Combelle albums. He also shone on the 1953 Lionel Hampton in Paris session (with Mezz Mezzrow and Clifford Scott) that was recorded for Vogue and has been reissued a number of times. brownie, thanks! I have the Django/Hawk date. Is the Hampton the one released in the Original Vogue Masters series? Or in the JiP? I think I have that, too. I will keep the Classics in mind. ubu

Saw him live yesterday, in a huge (but beautiful, built by Jean Nouvel) concert hall. He had with him Bob Cranshaw on electric bass, Clifton Anderson on trombone, as well as a drummer and a percussionist whose names I can't remember - not Perry Wilson, though. The concert was quite good, all in all. After the first set (started with "Change Partners", then a beautiful ballad/soul tune in 3/4 or 6/8, after that some blues, and "Don't Stop The Carnival") I was rather deceived, Carnival was lacking coherence, the percussion man kept banging around and getting in the way, and Cranshaw and the drummer were strictly in an accompanying role (the solos Cranshaw took, one per set, were frankly boring). However, the second set got much better, some new (or relatively new) tunes (as was the blues in the first set, I think), then another calypso, another beautiful and soulful ballad, a great medium up tune with Sonny as the only soloist, a very good musical dialogue with the percussionist (his presence finally making sense), and to close the set, "Tenor Madness", which really really went freaking wild! After a standing ovation, he came back to play a great take of "St. Thomas", by far the best of his three calypsos, and one of the highlights of the whole concert. All in all, it was quite good, his sound his time, his whole mastery of the horn still impeccable and complete. Awesome what he's able to do with his horn! However - even though I want to praise Anderson, mainly for his beautiful soft sound, a bit less for his ideas, which did not always convince me - I'd wish he'd play in a setting a bit more challenging, picking a band that is on par with him. However, for that, I think, we do have to stick with his great recordings for Prestige, Blue Note, RCA... ubu

and what's the part of the holy spirit? (he's always been my personal favourite among the three guys...) ubu

(Lafitte in 1990, taken from this site: http://www.ville-conilhac-corbieres.fr/jazz/historique.htm John, Humair was born in 1938 (so he's only 19 or 20 on the Barney live stuff!) ubu

P.L.M., that disc with Lyons sounds great! I shall take its name on my growing list of discs to get somewhen... On the Ghostly topic: I don't have it, never heard it, but if someone has a spare copy ubu

John, do you have an idea when this photo was taken? I only have the JiP, but that was quite a revelation - he's got a beautiful sound. Brownie, any Combelle recommendations? I know him from some stray tracks (I don't even remember where from, exactly, probably with Django?), and I'd like to hear some more of him. ubu

Yeah, although like Roberts, I wish there had been more recordings that really featured his playing. Galbraith has a great reputation among his fellow-guitarists, and it's hard not to respect somebody like that from all the glowing reports you read, but so often his work was part of a large ensemble or orchestra and difficult to really appreciate (kind of the way I've always felt about Freddie Green). Anyway, he was pretty prolific as a session player, and appears on quite a few recordings in my collection- from vocalists (Billie Holiday, Sarah Vaughan, Anita O'day, Carmen McRae, Dinah Washington, Helen Merrill, Johnny Hartman, Eddie Jefferson and Joe Williams) to orchestras/large ensembles with Claude Thornhill, Jimmy Cleveland, Cannonball, Art Farmer, J.J., Michel Legrand, Johnny Griffin, Curtis Fuller, Stanley T; to smaller groups (Tal Farlow, Coleman Hawkins, Kenny Burrell, Hank Jones, Milt Jackson, John Lewis...). Pretty impressive list of credits. I tend to love everything I have with Galbraith on! Don't forget the half album with Gil Evans, "Into The Hot", and his contribution to George Russell's "Jazz Workshop" album! ubu

Thanks for that link, Vincent! I was looking for information on several Bethlehem releases, too. That's a very useful site! ubu

You're welcome! Thanks for your disc! There's another one I should have known, namely the Ornette vocal track. I have "Friends And Neighbors" lying around for some years, but I'm not sure I even listened to it once yet... ubu

Oh, well, there's two I do have... namely the Kirk and the Curson - two great albums, but I have listened only once to each of them, right after I got them, both sometime early last year... Another reason to continue (or to be strict: start) with my buying freeze. ubu

A bit late once more (the disc took till last thursday or friday to arrive). A nice one, once more. Although I'll keep my comments short this time, as I did not recognize many tracks. #1 - Jaco, Bird's "Donna Lee" a great performance, and a great idea to start your compilation! Anyone with a soft spot for fusion and/or electric bass (or just great music) should definitively check out Jaco's debut album (from which "Donna Lee" is taken). #2 & 3: I hear Coltrane in both of them. Both sound familiar, #3 rings some bells, but I'm not able to identify it. #4,7,8,11: good ones, like them, but have no idea... #5: This one's too nice and easy for my taste, even more so #6... #9: Another one I like a lot. Don't know it, though. Interesting how it unfolds, builds. The drummer's a bit too restrained, although once the trumpet solo starts, he does some pretty mean things. #10: This one's marvellous! I'd love to hear more of this! #12: Another one rather on the light side, but I like this! And I like the sequencing here, on to #13, which is beautiful (of course, I have no idea about both of them). #14: A tune I know (but fail to recognise right now) - very interesting, very nice performance! #15: Cole Porter's "Just One Of Those Things". Another vocal track with organ, an interesting combination that is too seldom heard. Pretty good! Again, no idea. Sorry to seem such an ignorant, well, finally you all know what I actually am I dug the disc, however, and I'll read the comments of anybody else as soon as I can to find out which ones I have in my collection and failed to recognise... ubu

I'm very sorry to hear this. My sincerest condolences. ubu

I thought their policy is to issue only master takes from original metal parts Can I possibly open a lawsuit against my parents - they breeded me too late to get these sets... ubu

And let me add, Simon, that your remarks in the post right before brownie's do make sense, also regarding my last post. ubu

Ubu, 'banality of evil' was not a bon mot. It was an icily exact image coined by Hannah Arendt to describe Adolf Eichman at his trial. Hannah Arendt was at the Eichman trial in Jerusalem in 1961-1962 to write a series of articles for The New Yorker' magazine. Her articles were collected in her famous book 'The Banality of Evil'. brownie, forgive me the use of the term "bon mot" - I used it in lack of a better one, and I know I shouldn't have used it, actually. Arendt is on my reading list, too. Allow me a question: the "banality"-thing - does it still work once you see the incongruity in people's votes? Does it not imply that they didn't know and *only* carried out orders? This is a question, and I don't want to offend anyone. I'm just critical about the term "banality". As long as "banality" is only used to relate to statements of these people, alright, but it may not be applied either to what they really did (factual), or to the whole machinery. (And I don't want to imply that Arendt does use it thus - I did not read her book.) ubu

Didn't know about Byrd/Gryce. Again on the BN LP: I guess it is from Paris (Vogue), the bass player and drummer are the same that were on Dizzy's 1953 tour (on Vogue CD "Pleyer Concert 1953"), as was Legge. There's a Dizzy 10" LP with Vogue recordings, too, I believer. ubu

I think the Blue Note release was licensed from Vogue - however I could be wrong, but I think I remember reading this somewher. Legge was on Mingus' "The Clown", and he played with Dizzy (documented on Vogue, too, reissued in the Original Vogue Masters series a few years ago).

Well, the whole thing of "we were just following orders", so that responsibility seems to evade you. It is just the most amazingly banal statement to make about such a horrendous exercise. And yet people make it. And they can't see the incongruity at all. Like somewhere their brain got clogged up with all the evil and all they can utter is banalities and platitudes. It's like banality is a defense against seeing their part in evil. Simon Weil That does make sense, yes. The inconguity you mention, however, is what causes such stark terror when you see the nazi parts of "Shoah" - worst being the man who was second in command of the Warzsaw getto. These things really are beyond grasp. Simon, or anyone, did you read/study Karl Mannheim's and/or Jan Assmann's theories on memory? ubu

ubu

I don't really remember what they say, but some of the images...some of the images are indelible. The guy who sang in the small boat in that wood. The train stopped and the driver getting ready to leave. The crummy concentration camp officer spieling out his lies....Oh, it's all very "the banality of evil". Hadn't occurred to me until now, but that's probably why... Simon Weil I am not so sure about the "banality" - I mean, maybe in the perspective of the single "actors" you can speak of "banality", but as a whole, the Shoah, the destruction of the jews in Europe, was something farthest from "banal". Somehow I find that "bonmot" of the "banality of the evil" offensive (not personally, but still...) On "Shoah": you are right about remembering images. There's the german expression "fahrende Züge" which means "driving trains", but at the same time can be read (and it seems Kafka uses this expression in this sense somewhere in his diary) as - forgive my bad translation - "moving traits of one's face" (the mimic). In that sense, the images of the trains, actually out of direct context with what Lanzmann does otherwise in/with the film, make a lot of sense, as they're somehow an extension of the faces of the imperfect witnesses in front of the camera. ubu

It's a book by William Styron which was made into a film by Alan Pakula. I know the film, which is about a Polish woman trying to make a new life in America after her Holocaust experiences. It is strange and unquiet and I have equivocal feelings about it. But it's worth seeing. Haven't read the book. I'm not sure it'd be your thing though, Ubu. Simon Weil Thanks, Simon. I think I pass on the book (as I have what might turn into an overdose of books ahead right now), and keep my eyes open in case the film will be screened somewhere. By the way, I saw excerpts of "Shoah" again, one week after I saw these parts (from Pt.2, Chapter 1 - the barber-shop scene and the story of Müller who was already in the gas chamber). Now the crazy thing was, I could anticipate almost each word. What these people say sticks to the mind - you don't forget it! A friend told me it was the same thing for him - when he saw the film the second time, he remembered everything. ubu

For some reason this struck a chord in me. So I did a web search and came up with this site. It says: Sounds like the core idea of "Sophie's Choice". Don't feel like reading any further, just at the moment, but I think I will investigate Borowski. So... Thanks, Ubu. Simon Weil Thanks to you, Simon, for that link! Be warned: for me, getting over the first few pages of Borowski was quite tough - things seem so "normal", so "human", at first sight - only to turn out actually double as hard and degrading just becasue of that sudden impression of normality and mankindliness that you get at first... May I ask, what is "Sophie's Choice"? A book? A film? ubu