king ubu

Don't know the SABA I'm afraid ... it's the Schoof Quintet (w/Dudek, Schlippenbach etc), the Brötzmann Trio plus more horns ... pretty wild stuff, just one track. B-Side is half (or a third) of Bley's terrific 1979 set (which is in circulation in its entirety and I'd love to see it all on a CD, but I guess this overpriced LP is the best we're gonna get, so I went for it).

Very sad news! I was in touch with him a few years back about some live recordings by Monk with Ray Copeland and other stuff - he came across as an enthusiast and warm person. Not sure anymore, but I think I even sent him a CD-R of some rare stuff with his dad on it.

Happy Birthday Hans!

Happy Birthday John!

50 Jahre Jazzfest Berlin - Alexander von Schlippenbach "Globe Unity" (1966) / The Carla Bley Band "Boo To You Too" (1979)

Info on the Spotlite (as given above) contradicts the actual announcer heard on the LP. He gives Blakey on the date with Eldridge and Kay on the date with McGhee.

If they hadn't used such a loud LP, it would really sound pretty darn good for a vinyl rip. At the beginning of "I Remember Clfford", there seem to be speed issues, too - that sound as if they might have been caused by slight tape warble or something ... I wonder if the LP ever sounded really good in the first place. There's an annoying grating sound behind the bass solo on the final track, too - as if they'd pushed the volume knob a bit too much and the hiss went up in volume, too.

Finally spinning "The Camel" ... the title track is amazing and the album as a whole seems to be pretty good - but, I guess you sensed it, big BUT: it's a vinyl rip and it's NOISY! There are crackles and pops and stuff. Not nice for such an expensive reissue. They could have at least tracked down a collector with a mint copy.

Don't have the BN one, but had the Verve one given to me for x-mas and while it's certainly not a thrilling read or anything, I find it quite interesting, regarding the entire story of JATP, Clef, Norgran etc. The Granz book might be a better read, who knows, but the photos and stuff in the Verve book is pretty amazing, too - and different from BN, there were so many Verve covers around (so much stuff got re-packaged and re-compiled) that I really feel like I don't even know half of 'em. "I want to fight against racism, to give listeners a good product, and to earn money from good music." Fair enough, I'd think. I have both (though I am only partially through the books by now), and I think they complement each other well. I agree that the Verve coffee-table book is not the best read in the world but it is quite OK anyway IMO. I have seen others that were written much more badly yet had much higher pretenses. The capsule bios in the Verve book are quite OK for the primary target audience, and the illustrations (and their layout) and sheer amount of data are stimulating enough, though I would have appreciated a bit more detail on the often-overlooked artists (who also were part of the Verve LABLE history) outside the trodden paths of the biggies but then I suppose you could not have marketed that book that easily to the more casual listeners who have a handful of Ella and Oscar records and now want to get something to look at while listening ... As for the Granz bio, I agree about the fair enough "making money from a good cause" angle, and in the way he acted on numerous occasions Granz certainly proved that he did stand up for the rights of the artists he worked with. Remember the times most of this took place in. Like or face it or not, but from today's state of society a lot of this was the "dark age" and those who did not live through those times sometimes are a bit rash in faulting people like Granz for not going farther than they did or for not being more radical in their actions. And I have a feeling any bio of Granz by necessity falls short on what it could have accomplished simply due to the fact that Normal Granz went out of his way to destroy documents and evidence from his life and his business so a lot that would have been of immense interested for the evaluation by historians just isn't there anymore. What I don't like about the Verve coffee-table book, though, is that tendency (by THIS author??) to milk over and over again those William Gottlieb photo files at the LOC. The Gottlieb pictures ARE geat but as they have been used before in many cases and are publicly accessible on the LOC site they must be pretty well-known to anyone seriously interested in the music from that era by now, and besides, how many devades of jazz can you illustrate with photos from 1947 exclusively?? IMO this way of rounding up pictures from the same source over and over again is an wasy way out for the author and editor to save them the effort of doing some real searching for views from that era not seen too often before (which no doubt MUST be out there ...). Fair point re: Gottlieb's photos - indeed the fat booklet for the forties JATP box contained plenty of Time/Life photos by Gjon Mili that don't seem to be as widely known and while you can watch some of them on the internets, they're not part of the LOC's collection and come with watermarks and stuff like that ... And those photos are as wonderful and atmospheric, I'd say, as the ones Gottlieb took. Some examples here (not JATP ones but ones taken at Mili's studio): http://time.com/3689431/giants-at-play-life-with-jazz-legends/

Don't have the BN one, but had the Verve one given to me for x-mas and while it's certainly not a thrilling read or anything, I find it quite interesting, regarding the entire story of JATP, Clef, Norgran etc. The Granz book might be a better read, who knows, but the photos and stuff in the Verve book is pretty amazing, too - and different from BN, there were so many Verve covers around (so much stuff got re-packaged and re-compiled) that I really feel like I don't even know half of 'em. "I want to fight against racism, to give listeners a good product, and to earn money from good music." Fair enough, I'd think.

(maybe some moderator could amend the thread title, since this has by now turned into a recommendations discussion equally?)

http://www.amazon.com/Music-Crossroads-Legacies-Baltimore-Aperio/dp/1934074527/ http://articles.baltimoresun.com/2010-08-07/entertainment/bs-ae-jazz-loyola-20100807_1_baltimore-jazz-apprentice-house-loyola-students

Pres: Buchmann-Moller?

Seen her live a few times, in different settings - and indeed, the trio with Hébert/Smith was the one I enjoyed most. Alas, she doesn't seem to travel with her regular gear (instead using smaller, probably less valuable/dear-to-her guitars). But nonetheless, I'd strongly suggest to check her out in concert!

some bread: funky bread, that is

if you don`t know this, Mal Waldron "Free At Last" from the 2014 batch is a IMO a "must have".... Huh? It's listed as pre-order (April 2015) on CDJapan? Guess I'll have to get that one to finally have a real copy of that great album!

A grand ol' anglo-saxon academic tradition, that ... and one that could indeed be stopped with little loss (except for U presses earning the sh*t ouf ot those books that every library all over the world has to buy). That doesn't include my book. Every year Yale U. Press tells me that I'm still in the hole to them for my modest advance against royalties. No problem, though -- I never expected to make a penny from it in the first place, just wanted to get the stuff out there. Ha, surely didn't mean to include you! Was more thinking of the likes of Huntington and Fukuyama and their articles that got blown up into books not adding much to the initial 30 page essays ... I'm indeed not aware of the same syndrome being as bad over here. But then we don't have these high-end upresses anyways, different system. Seems your book is on low stock though ... guess I gotta pull a carpe diem on it rather sooner than later!

Here's an old topic with recommendations on jazz books that could be bumped: But I guess most of the interesting discussions emerged in other threads ...

A grand ol' anglo-saxon academic tradition, that ... and one that could indeed be stopped with little loss (except for U presses earning the sh*t ouf ot those books that every library all over the world has to buy).

Yes, it's one of his best (though I think at gun point, I might go for "Intensity"). Regarding the story Laure tells about how she acquired the master - did this end up with Charlie Parker Records as well? They released the Paich Quartet w/Pepper as "Chile Pepper", prob. 1961/62ish, which was quite a few years before Laurie bought it, and she mentions being offered the entire CPR catalogue. Who would have been the owner of that back then? And who bought it just after she had to decline? All I know is that cheapo box set which was discussed in some depth here: ... and looking up contents there, I see half of "Art Pepper Quartet" was indeed on a CPR album titled "Pepper Manne". And looking further, in Marcello says that: anyway, this is all a bit off topic here, but after all it was Laurie's mail and comment that triggered it

"Sittin' In" is a good one indeed! Will have to re-visit "Great Reunion"/"Big Challenge" soon, not that familiar with these yet. Hawk's relation with Pres was quite complex, too, I guess - seems at one of the European JATP tours in the fifties, when Pres more or less had stopped eating (same thing Hawkins would do, ten years later), it was Hawkins who tried to look after him.

Ah well, Hawkins said a lot of things ... seems he put down Chu Berry as well, but after he was gone, he was finally able to confess that he actually did like his playing quite some. Not sure where I read this bit about Hawkins/Freeman though (and even if I found it, as with so many things about jazz, that would still not be an actual source, so ignore if you prefer).

Recently read somewhere that it was Hawk who insisted on the presence of Bud Freeman since he loved his playing so much?

re: pads - is it all leather with saxophones? fish skin only on clarinets? (I got them all at home but I usually don't screw around on 'em myself ... once took my tenor halfway apart and it wasn't easy getting everything in place again, with my two left hands )