king 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

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

Works fine for me, too! ubu

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

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

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