king ubu

Nutty, I don't have the big set. I decided to pick up the single sets (in their Verve Master Edition incarnations). Some of them do include material not in the box. Regarding sound, I cannot make any comments. The box however is several years old, while some of the single songbook reissues are fairly recent. Maybe there are some differences or improvements? ubu

I have picked up three Sagajazz discs since I posted last. Milt Jackson, Early MJQ - I don't have it at hand. It has, if I remember correctly, one Prestige date, two DeeGee dates, the Blue Note date with Lou Donaldson (also on the Jackson RVG) and one date for another small label whose name escapes me. A very nice collection. Much of Jackson's playing is very bluesy. Kenny Clarke is on drums (I don't remember if he is on all the quartet sides, or not), so this is Jackson before Connie Kay. While I have not yet (YET stressed) explored anything later by the Modern Jazz Quartet, I love these early sides. (There is a similar reissue of four of the same dates, and one other, on Definitive, by the way.) Then I just picked up "Count Basie Septet & Octet - On Film & Live". This has the following tracks: Hollywood, late August 1950: Clark Terry - t, Buddy DeFranco - cl, Wardell Gray - ts, Basie - p, Freddie Green - g, Jimmy Lewis - b, Gus Johnson - d, Billie Holiday - voc (-1) GOD BLESS THE CHILD (-1) NOW, BABY, OR NEVER (-1) FELANGES ONE O'CLOCK JUMP Universal film shots, directed by Wil Cowan. NYC, prob. October 1950: same personnel, Holiday out, Helen Humes - voc (-1) ONE O' CLOCK JUMP BASIE'S CONVERSATION (BASS CONVERSATION) BASIE BOOGIE IF I COULD BE WITH YOU (-1) I CRIED FOR YOU (-1) Snader Telescriptions (short films) NYC, poss. December 1950: unidentified - t, Marshall Royal - cl, Gray, Basie, Green, Lewis, Johnson 3:15 A.M. BLUES DONNA LEE C JAM BLUES ROBBINS' NEST Live recording, unknown broadcast location NYC, April 20, 1951: Terry, Royal, Gray, Basie, Green, Lewis, Johnson, poss. Symphony Sid - mc ONE O' CLOCK JUMP MOVE BASIE BOOGIE BLUEBEARD BLUES ONE O' CLOCK JUMP (Note: Bluebeard Blues is announced by the MC as Golden Bullet) Stars on Parade, WNEW Broadcast Birdland, NYC April 28, 1951: same personnel as April 21, add Buck Clayton - t (-1), omit Sid JUMPIN' AT THE WOODSIDE HOW HIGH THE MOON / ORNITHOLOGY OH, LADY BE GOOD (-1) BLUEBEARD BLUES (-1) ONE O' CLOCK JUMP WNEW Broadcast This is a very good collection. Some of the tunes (from the live sessions) are quite long. How High The Moon Clock in at 8:42. Wardell Gray is BAAD! And DeFranco, Terry, Royal are not bad either. It's quite intriguing to hear Basie doing tunes as Move, Ornithology, or Donna Lee. Check it out! In the liner notes, another Basie "CD featuring all the other studio recordings of the Count's small groups in 1950-1951" is announced. So, does this disc above include all live / movie dates by Basie from 50/51? The other CD I have picked up: Stan Getz "From Long Island to Stockholm". This collects various quartet dates for Prestige and Roost (all available in their complete forms on either some OJCCDs or the fabulous Getz Roost 3CD set released by Blue Note some years ago - one of my very favorite box-sets ever, by the way!). The reason why I bought this lies in the sessions following those quartet dates (none of these is complete on the CD, I think, and I'd not have bought it for that only, actually): There are all (?) eight sides Getz made in Sweden in March 1951: Stockholm, March 23, 1951: Stan Getz and his Swedish All Stars: Stan Getz - ts, Bengt Hallberg - p, Gunnar Johnson - b, Jack Noren - d. ACK VÄRMELAND DU SKÖNA (DEAR OLD STOCKHOLM) S' COOL BOYS NIGHT AND DAY I ONLY HAVE EYES FOR YOU PRELUDE TO A KISS I'M GETTING SENTIMENTAL OVER YOU Stockholm, March 24, 1951: Stan Getz and his Swedish All Stars: Same personnel, add Lars Gullin - bari, Yngve Akerberg - b, replaces Johnson. FLAMINGO DON'T BE AFRAID. I never saw these Swedish sides on a Getz CD (well, I have not looked for them either...). Big for the production of these Sagajazz releases! The team includes people involved also in the Jazz in Paris reissues. Alain Tercinet, for instance selected the tracks for the Getz CD. Remastering seems to be as good as it gets. Cover art is quite nice as well, notes are in French and English, and while they're usually rather short, they contain some rather relevant information. By the way, both of these discs come from the probably rather recent new batch, numbers 51-60. You can find the whole listing of the series on the website, sagajazz.com (it includes track listings and years of recording for each track, but no personnel information). ubu

Late, thanks for the recommendation. I know I have to pick up several Lacy HatOLOGYs before they go OOP. School Days is on my list! I was actually referring to the Lacy/Rudd late nineties Verve date being mentioned further above. ubu

I wish DD would start posting here. I miss his posts about freer styles and European jazz in particular, especially now that he isn't posting much on AAJ anymore. I did not mention him, because I have invited him to join in here several times, yet he always preferred AAJ for some reasons (good ones, if you ask me). But I miss his presence, too! After the exile began (seems strange using such words nowadays, as we have found a very warm and nice home...), he was a mainstay over at AAJ. He seems, however to be not so active anymore on BBs in general. ubu

A Ghost Of A Chance (06:19) Jazztone J-1040 (06:26) Jazztone SJS-1238 Dark Eyes (04:56) Jazztone J-723 (04:59) Jazztone SJS-1238 Deep Purple (04:23) Jazztone J-1040 Lionel's Choo Choo* (03:01) Jazztone J-723 Loch Lomond (quartet) (06:00) Jazztone J-1238 (06:00) Jazztone SJS-1238 Look! Four Hands (quartet) (03:41) Jazztone J-1238 (03:41) Jazztone SJS-1238 My Man (quartet) (05:18) Jazztone J-1040 (03:53) Jazztone SJS-1238 Over The Rainbow (11:06) Jazztone J-1238 Raindeer (07:59) Jazztone J-1238 (05:07) Jazztone SJS-1238 Romeo's Gone Now (06:25) Jazztone J-723 (04:10) Jazztone SJS-1238 Summertime (02:39) Jazztone J-1238 Take The „A" Train (quartet) (04:18) Jazztone J-1040 Time For Lyons (quartet) (06:20) Jazztone J-1238 (04:58) Jazztone SJS-1238 Too Much (quartet) (04:55) Jazztone J-1040 (03:49) Jazztone SJS-1238 Undecided (07:02) Jazztone J-1040 (05:19) Jazztone SJS-1238 What's Your Hurry* (03:52) Jazztone J-1238 When You're Smiling (06:48) Jazztone J-1238 The Minidisc I have of these is mono and contains the following: 1. Over The Rainbow (11:06) Jazztone J-1238 2. When You're Smiling (06:48) Jazztone J-1238 3. Time For Lyons (quartet) (06:20) Jazztone J-1238 4. Summertime (02:39) Jazztone J-1238 5. Raindeer (07:59) Jazztone J-1238 6. Look! Four Hands (quartet) (03:41) Jazztone J-1238 7. Loch Lomond (quartet) (06:00) Jazztone J-1238 8. What's Your Hurry* (03:52) Jazztone J-1238 So this seems to be a copy of the Jazztone mono LP, minus several tracks. Was J-1238 one LP? Seems very long for an LP from the mid-fifties! I will check if it's the Jazztone indeed, or rather some european version. I cannot remember what label it was. ubu

Bev (and Hans) - this was the reason why I found AAJ to be a very good complement to this board. Originally, I felt home over there a little bit more, but today, and this has started some weeks before the hacker attack on AAJ, I feel home and welcome here very much! (Thanks everybody!) Not to let this develop into a pat on our own shoulder - why not start a little bit more activity here regarding european jazz? I think there are at least some people in here who'd participate, and then some others who would follow the discussion with at least some interest. I myself have no vast knowledge about european jazz, in fact, the few things I do know are rather more attached to the *usual* american jazz, yet I would certainly welcome a little bit more on non-US music. One advantage here (as regarding the old board) seems to be that it is not necessary to have that rather annoying, and sometimes I feel also discriminating, jazz/not jazz/elements of jazz kind of dicussion. Re: AAJ, it seems that some of the posters with whom I had exchanges on and off the board are indeed not active anymore, and the place for me seems quite dead. I highly welcome people like EKE, mmilovan or clifton posting here! Keep it going! Maybe AAJ gets better - let's hope it does! Mike is a nice guy indeed! - and then the two boards migtht again complement each other as they did in the time right after the demise of the old board. ubu

Same here. Was it a political thread? Same goes for me. Political or whatever. ubu

And the Miles tracks are most probably taken from that Robert Herridge (sp?) tv show he did with Gil Evans and the quintet. I have the music of it (on some beat up old cheap LP), and it's GREAT, hell, GREAT! ubu

Let's hope there will be many that will be able to live long... some favorites: enja ECM Soulnote/Blacksaint hatART/OLOGY whatever TCB Palmetto INTAKT Altrisuoni OWL and one that's not exactly an independent label: Gitanes. In my opinion, they produced some if not the best music to come out of Verve/Universal in the last 15 or so years (Helen Merrill, Charlie Haden, RANDY WESTON...) ubu

poor ubu too!

That's what I did assume, too... How 'bout a future exclusive swiss-only BT? You guys would make eyes, ahem, ears... ubu

c'mon, we all know the day will come! Wherever there is some money to be made, Sony might enter the business, sooner or later. ubu

"HAPPY-GO-LUCKY-LOCAL", Jim... You know, Jim, we're all texans... Bev, no harm intended, I was typing really fast, and the list is complete in no way. Let me humbly assure you I meant the British to be part of "or whatever".... ubu B)

Thanks for that, I stumbled over it in the list and became insecure as to whether it really was Mo-di-en or whatever exactly. ubu

Actually that book was released in 2000. Some recent titles (from the bibliography of my emerging exercise): Fubrini, Riccardo, „Renaissance Historian: The Career of Hans Baron”, in: Journal of Modern History 64 (1992), 541-574. Griffiths, Godon, James Hankins, David Thompson (Hrsg.). The Humanism of Leonardo Bruni. Binghamton, New York 1987. (= Medieval & Renaissance Texts & Studies; 46. Renaissance texts series; 10). Hankins, James, „The ’Baron Thesis’ after Forty Years and some Recent Studies of Leonardo Bruni”, in: Journal of the History of Ideas 56 (1995), 309-331. Hankins, James, „Rhetoric, history, and ideology: the civic panegyrics of Leonardo Bruni“, in: Ders. (Hrsg.), Renaissance Civic Humanism: Reappraisals and Reflections, Cambridge 2000. (= Ideas in Context; 57), 143-178 Hankins, James (Ed.). Renaissance Civic Humanism: Reappraisals and Reflections. Cambridge 2000. (= Ideas in Context; 57). Schiller, Kay, „Hans Baron’s Humanism“, in: Storia della Storiografia 34 (1998), 51-99. Schiller, Kay. Gelehrte Gegenwelten: Über humanistische Leitbilder im 20. Jahrhundert. Frankfurt am Main 2000. There is some more, which I have not yet properly listed. The Schiller article (1998) is most probably an early version of the text in the book (2000). The book features an introduction, then a large essay on Ernst Kantorowicz, and then comes the long Baron part. It seems Schiller more or less used his article and incorporated it in the book. These texts (and Fubrini, too) are generally not on the Renaissance, but on the history of renaissance scholars (Baron main and centre). The Griffiths/Hankins/Thompson tome is a rather pedestrian collection of (english) excerpts from Bruni-texts. More for students, not too nicely edited and introduced, in my opinion. It still seems that Baron's edition (which came out in 1928 and was radically critised from the date of its release) is the better one. Hankins seems to be the historician currently most involved with Bruni. He is also editing the "Repertorium Bruniarum" (will be 3 tomes, as far as I know only the first has appeared so far.). His account on Bruni and the Bruni-thesis is alright, and his close analysis of the Dialogi and the Laudatio (in that most interesting book he edited, "Renaissance Civic Humanism" - this has Baron and Pocock (whom I don't know at all and are not that interested in, either) in its focus, Pocock being viewed as a scholar who made use of the Baron thesis for epochs after the Renaissance. ubu

Moose and minew - give me some time, I'll post again here. I think the point Kay Schiller made (quite recently, actually, in a book in 2001 and an article a couple of years before that) are quite good, too. ubu

Please let me add that I was born to late... And apologies if I should have hurt anyone's feelings! ubu -_- a simple twist of fate

1. Takin' Off 2. If I Had You 3. 20th Century Blues 4. Street Beat 5. Tunis In 6. Strange Hours 7. Rhythm Itch 8. Mad Lad 9. Benson Alley 10. Sir Charles' Boogie 11. Harlem Jump 12. Mr. Big Horn 13. Benson Alley (Alternate) 14. Strange Hours (Alternate) 15. Rhythm Itch (Alternate) 16. Harlem Jump (Alternate) 17. Mad Lad (Alternate) Three dates, 1945 and 47. Cannot give you much more info, as I am at work. Well, I found this: Sir Charles Thompson and his All Stars [Apollo Sessions] Buck Clayton (tp) Charlie Parker (as) Dexter Gordon (ts) Sir Charles Thompson (p) Danny Barker (g) Jimmy Butts (b ) J.C. Heard (d) NYC, September 4, 1945 R1030 Takin' Off Spotlite [E] SPJ 150D, Vogue [F] LDAP 769 R1031 If I Had You - R1032 20th Century Blues - R1033 The Street Beat - * Every Bit of It / Charlie Parker (Spotlite [E] SPJ 150D) * The Fabulous Apollo Sessions / Sir Charles Thompson (Vogue [F] LDAP 769) That's the most interesting of these sessions, in my opinion, but the one without Barisax... and here's the other two: Date: ca. July 1947 Location: New York City ldr- Sir Charles Thompson; t- Joe Newman; ts- Bob Dorsey; bar- Leo Parker; p- Sir Charles Thompson; g- Freddie Green; b- John Simmons; d- Shadow (Rossiere) Wilson Tunis In (aka Tune Us In) - 02:50 (Sir Charles Thompson) Strange Hour - 03:03 (Sir Charles Thompson) Strange Hour - 03:00 (Sir Charles Thompson) Rhythm Itch - 02:58 (Sir Charles Thompson) Rhythm Itch - 02:49 (Sir Charles Thompson) Mad Lad - 02:42 (Sir Charles Thompson) Mad Lad - 02:34 (Sir Charles Thompson) Date: December 29, 1947 Location: New York City ldr- Sir Charles Thompson; t- Taft Jordan, Joe Newman; tb- H. B. Mitchell; as- Pete Brown; ts- Bob Dorsey; bar- Tate Houston; p- Sir Charles Thompson; g- Hank Morton; b- John Simmons; d- Shadow (Rossiere) Wilson Benson Alley - 03:33 (Sir Charles Thompson) Benson Alley - 03:07 (Sir Charles Thompson) Sir Charles' Boogie - 02:35 (Sir Charles Thompson) Harlem Jump - 02:34 (Sir Charles Thompson) Harlem Jump - 02:34 (Sir Charles Thompson) Mr. Big Horn - 02:59 (Sir Charles Thompson) did not know there was a good Thompson disco online (here) ubu

ubu

another good one. ubu

great!! ubu

Hey, you omitted "All of the above"... I didn't do it, for sure B) ubu

Baron's notion was that, under the influence of the threat consisting of the Tyranny of Milan, in Florence, there arised a new form of humanism. He called this "civic humanism". Leonardo Bruni (from Arezzo, thus at that time called "Aretino") was the crucial person in Baron's scheme, 1402 the crucial year - the year when the threat was getting immense. I cannot right now explain what exactly "civic" meant, but it has to do with the idea that the new humanists, opposing mainly to Petrarca (and Bocaccio, who was a student or scholar or whatever of Petrarca) and his ideals of the "vita contemplativa", stressed the "vita activa" (of civic, hence the word, life). In addition, a new study (after discovery of new handwritings, I think, but am not sure) of Aristotle and mainly Cicero took part. Bruni, in his "Laudatio Florentinae urbis" (which I write my paper about, and which, together with his "Dialogues" represent the mainstay of Baron's argumentation in "Crisis") developped a "double-thesis", maintaining (as Salutati before him had found already) Florence's foundation not under Caesar (the hero of Petrarch) but under the Roman repbulic (Sulla, I think), and therefore having to bear the yoke of the task of defending Roman/republican/Etrurian civic liberty in opposition to the threat of tyrants all over Italy. Baron maintained Burckhardt's view of the Renaissance bearing the seed of modernity, bringing middle ages to an end. Yet somehow he also maintained sort of a continuity - actually "civic humanism" came into being through a melting together of the vernacular, medieval, civic tradition of the communes, and the learnde humanist approaches of the line of Petrarch (and the Scholastics). Bruni was the most important figure in this scheme, presenting us (in the "Laudatio") a first republican manifesto (as Baron believed) (and this is exactly the part of the "Laudatio" in focus of my paper). (You can download a partial version in english as pdf here: www.york.ac.uk/teaching/history/pjpg/bruni.pdf Baron's reading has been more and more critized. Beginning with attacks by Jerrold E. Seigel (somewhen in the sixites), and, as you mentioned disagreements with (but no open critique from) Kristeller. While it seems that at least concerning the "Laudatio" the huge work Baron did to re-date the text (1403/04 instead of 1400/01) seems to be regarded as valid still today, in the case of the "Dialogues", Baron's opinion is not generally accepted anymore. The chronology (the establishment of a new chronology proposed and put up by Baron) was the foundation for his thesis. Yet today, there are historians who consider that even with certain chronological aspects as established by Baron being false, his general proposal (the "civic humanism") is still valid. The main point put up against the "Baron-thesis" (besides the general difference in regard to what (renaissance or generally) history should deal with - the differences between Baron and Kristeller) was that his view was much derived from his own "preferences" - his adhereance to german 19c "Bildung", "Bildungsbürgertum", "Bildungsideal" (in reference to Humboldt's "second humanism" etc - Kay Schiller wrote an article and a book about that issue). So Baron generally identified himself with Leonardo Bruni, his great champion, and thus created problems that maybe would not have been without him. He stressed that Bruni was a republican ideologue (the first actually to leave us an outspoken republican tract, the "Laudatio" (as I said before, ahem...), and seemingly disregarded the possibility of Bruni being a professional "rhetorician" (Seigel's attack was titled: "Civic humanism or professional rhetoricism" or something similar, Baron's reply "L. Bruni: 'civic humanist' or 'professional rhetorician' "). My opinion on this whole thing (not quite fully formed yet, however), is along the lines of James Hankins (who wrote an interesting article for a book ("Renaissance Civic Humanism") he edited). The Baron-thesis is still interesting, some (important, not to say general) points are still valid (the new - whether to dub it "civic" would have to be discussed, actually, the original term was "Bügerhumanismus", and maybe less debatable than its english counterpart - humanism is a "fact" which can be stressed with help of sources), yet regarding Bruni (not to speak of Baron's Machiavelli), Baron seemed to miss some points. I don't believe Bruni was an ideologue of any kind. Rather he was a politically involved rhetorician, man of letters (and bestseller author of his time, too, by the way), wo adapted with ease to different political systems - he had no problem with the rise of the Medici, for instance (Baron works quite hard to try and convince us why the republican ideologue should work under a regime viewed today as not much different than the tyrannies in other italian city-states of that era). Hope this makes *some* sense, ubu

"Brilliant Corners" was a Riverside date! A Prestige date that might fit what you mean: Sonny Rollins' "Saxophone Colossus". Or the Rollins-led date of the Roach/Brown quintet. And of course the two Miles quintet "marathon" sessions! The Trane dates, yes! I love all of them! You could ask as what he regarded them at the time (1957, "Traneing In", "Settin' the Pace", "Soultrane", "Lush Life" etc.) - as great records by an emerging star, or rather just another one for a musician in need of money (was this before of after Trane kicked his habit? I've got no possibility to look this up being at work), or just another jam session using some "regular staff musicians". Maybe talk about the Booker Ervin albums? Had he left Prestige then? They were all produced by Don Schlitten. Did Weinstock leave? Sell? (I don't know the history of Prestige at all, forgive me!) You could ask him about Bob Parent (and later Esmond Edwards and Don Schlitten) doing those marvellous cover photographs (and session photographs - look at the booklet of the Eric Dophy Prestige box, for instance). ubu

This looks interesting, Mike! Thanks for the ubu