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king ubu
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Posts posted by king ubu
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Seems like I just got #50 recently. I must be WAY down on the list.
poor ubu too!
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And no harm assumed, king ubu.
That's what I did assume, too...
How 'bout a future exclusive swiss-only BT? You guys would make eyes, ahem, ears...
ubu
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I don't undersyand why they are not releasing a box of this stuff, and even more puzzling, why aren't they reissuing Pangaea and Agharta? That would make a nice little box in itself, think about it, The Complete Agharta/Pangaea or something like that. Guess they are waiting for the next generation of listeners to clear the vaults for
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
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Better watch this "they" stuff. I'm still compiling mine...
Don't make me go local!
"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)
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Paul Motian is Armenian, and it should be mo-tee-un, but he's gone with 'motion.'
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
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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
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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
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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
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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
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ubu
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This well-compiled Delmark CD with the complete Apollo sessions of Sir Charles Thompson has both Leo Parker and Tate Houston on it, the latter soloing on a session formerly misattributed to the former.
another good one.
ubu
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Just wanted to make sure that every Harry Carney lover is aware that his 1954 Clef LP Harry Carney with strings was hidden on the Ben Webster twofer CD Music for Loving:
great!!
ubu
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Hey, you omitted "All of the above"...
I didn't do it, for sure B)
ubu
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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
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Are there any Prestige sessions that he feels are overlooked because they weren't on a label like Blue Note or Riverside, but that they are on the same level of playing as a BLUE TRAIN (just to give one example; is there one or two albums of his that he feels have that special something that pushed it into the upper realms of greatness?) or a BRILLIANT CORNERS?
Does he feel that, when critics refer to "standard blowing sessions," they're referring to Prestige in a derogatory manner?
On a note related to the first question: how would he counter the claim that Coltrane did nice work at Prestige, but that it wasn't essential when compared to BLUE TRAIN, his Atlantic work, and his Impulse work? (For the record, I don't buy this notion for a second; but I have seen it expressed elsewhere).
"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
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Just found this brand new CD Ocium 0038 "Lucky Moments":
Tracks:
1. Avenue C / Basie, February 26, 1945
2. I'm In The Mood For Love / Freddie Green, May 7, 1945
3. No Good Man Blues / LT, September or October 1945, Excelsior
4. Why Not / as before
5. Irresistible You / as before
6. Phace / as before
7. Dodo's Bounce / LT & Dodo Marmarosa September 13, 1946, down beat
8. Dodo's Lament / as before
9. Slam's Mishap / as before
10. Shuffle That Ruff / as before
11. Smooth Sailing / as before
12. Commercial Eyes / as before
13. Just One More Chance / LT, April 22, 1947 RCA
14. From Dixieland To Bop / as before
15. Boulevard Bounce / as before
16. Boppin' The Blues / as before
17. Stay In There / LT, summer 1950 Triumph
18. Over The Rainbow / as before
19. Flamingo / LT August 14, 1953 Decca
20. Mambo In Blues / as before
21. The Scene Is Clean (not the Dameron tune) / as before
22. The Night Hawk / as before
23. Little Boy, Blow / as before
24. Moonlight In Vermont / as before
25. Bunny / as before
Tracks 3-16 are on the Chronological Classics CD 1113 (LT 1944-1947). - There are two more Excelsior sides that are so hard to find that some doubt they were issued.
Track one is a Basie master take featuring LT.
Track 2 is from a Freddie Green session; 2 of the 4 tracks remain unissued, but the two others are both on an Indigo LT CD "Smooth Sailing" and a Buck Clayton Chronological Classics CD.
Tracks 17-18 are two of four recorded, but as with the Excelsiors it seems to be hard to locate a copy for the other two, they never were on LP.
Tracks 19-25 are the real find of this CD, they are all issued titles LT recorded for Decca (one more track was never issued) - these were on LP in the 1970's but never before on CD AFAIK, and they are very good! A must for LT collectors.
This looks interesting, Mike! Thanks for the
ubu
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I'll have to check if that 2LP set is still around in the shop where I saw it. I think it had some sort of "complete" tag to the title, but I'm not sure.
thanks!
ubu
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Works fine for me, too!
ubu
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Not as far as we know! Hell, they sure should!
And then, they should go on bringing us the complete sessions from all those live double albums from the 1970-74 period, too, as they will with the Live-Evil tapes.
At least one of the Fillmore albums was cut toghether from several nigths/sets.
And then they should start releasing legal reissues of many bootlegs... I never heard a note of live second quintet besides the Plugged Nickel and the Berlin stuff...
ubu
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Please do, but no hurry at all!
I did not know about the Mosaic and the Clef dates! Write them an email about them presenting them on a select! Sure worth a shot!
ubu
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Could it be one of you intrduced the idea of having a poll about who does the next BT just now to keep us Europeans from passing the ball around here?
I guess they would not care if we did all the work, the main problem is - if we were producing all these discs of italian, french, german, austrian, swiss, polish, czechoslovak, finnish, danish or whatever jazz, they would never identify a single tune...
ubu
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And this covers his rare Dale and Decca sides, I know you don't like these Spanish labels, but there is no other way to get this good music:
There was indeed two sessions of a 10-incher on EmArcy, titled Moods, that's not on the VEE CD.
Mike, those two other sessions ("Mood") - were they on the Vice Prez 2LP set?
And the CD, the spanish one, is that complete in any way? Or is it some compilation?
ubu
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One album I really love is Ben Webster and Illinois Jacquet's THE KID AND THE BRUTE. I think that's one of my top three Verve Elites.
Also a nice addition to the Jacquet Mosaic!
ubu
Which jazz label/s has been the best over ...
in Miscellaneous Music
Posted
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