Christiern

When Fass does not agree with someone's post (as is often the case), he reaches into his bag of indignant reactions and pulls out the "mean-spirited" label.

The truth is that Wynton owes his fame to a job given him largely for reasons that have little or nothing to do with his musical talent. He is technically impressive, but his performances very rarely have any emotional depth. Wynton was groomed by a PR woman and a Columbia Records lackey to fit the look and demeanor accepted by white corporate types of the kind who took over and seriously diluted the record industry. He landed a job that several contemporary performer/teachers were far more qualified to hold, and that in and of itself guarantees prominence.

In my days on the air, I had to read a synopsis of the story before each Sunday broadcast of an opera.It was extremely difficult to do without breaking up. Those scenarios put modern soap opera to shame.

Love it and have attended many performances, starting when I was in my early teens and my mother was dating the star tenor of the Royal Danish Opera. I liked his recordings and he was good, but I did not like him anywhere near as much as he liked himself. Fortunately, he did not become my mother's fourth husband—someone else did. ANyway, I love to hear a good opera performance and was very fond of Kathleen Ferrier, whom I heard in concert. Also intrigued by Menotti's "The Medium" and "The Consul." I haven't been to the Met in about 6 years—too expensive now.

I still believe that Wynton is a blight on jazz, a man who owes his prominence to his job rather than his musical talent.

Here's a recent article on Ralston that I just came across. Ralston attended every session I did when producing the Riverside "Living Legends" series in 1961. We hired him to take the cover photos, but ended up mostly using great shots from his portfolio. I was glad to see them on display at the exhibit that MM posted (above). My favorite is not there, however, it is of Mrs. Joe Oliver's front steps. I'll try to find it and post it here. BTW Ralston was a real gentleman, a pleasure to work with—he attended every session (and there were many) and I marveled at the way he moved around the hall stealthily. That was in stark contrast to Florence Mars, whom we hired specifically to take session shots—she was clumsy and obvious, often forgetting to remove the lens cap! Crawford's photos were also far, far, better.

I always thought it was stillborn.

If you don't think Steve Jobs was a visionary, check out this response he made to a Q&A that followed one of his 1983 speeches: "Apple’s strategy is really simple. What we want to do is we want to put an incredibly great computer in a book that you can carry around with you and learn how to use in 20 minutes. That’s what we want to do and we want to do it this decade," says Jobs. "And we really want to do it with a radio link in it so you don’t have to hook up to anything and you’re in communication with all of these larger databases and other computers." iPad, anyone?

What is your point?

Of course, people should not be force fed Wagner's music. or any other form of artistic expression. When I played it on the radio, I did not preface it with a "don't touch that dial" command—didn't even click my heels. Perhaps I should have had them stick a label on my Bessie Smith biography.

Should we remain seated as others Lindy Hop? Never drive a Ford? Throw Ezra Pound's work in the dumper? Clean our windows with Chanel No. 5? As someone pointed out, the roots of the holocaust in question (sadly, it is but one of several) were deep and numerous, stretching way beyond Wagner's life on earth. Pardon me while I don't watch "Jack in Paris," it's that outrageous episode of the Jack Benny Show in which Maurice Chevalier is guest. Ridiculous!

When I managed a radio station here in NYC, we played the entire Wagner Ring every year (it takes many hours) using the previous year's live recordings from the Bayreuth Festival rather than commercially issued recordings. There were complaints from some Jewish listeners, but I thought it was rather ludicrous to buy and drive a Volkswagen and go bananas over Wagner. The Volkswagen really had a tie to Hitler, it was his idea. With that in mind, I politely informed complainants that I thought they were being too sensitive. There probably isn't a day when we don't enjoy something that was created by a bigoted person. The Catholic Church killed and tortured a lot of people during the inquisition—should we not listen to or read works created by Catholics? It doesn't make much sense to me—double standards never did,

This is an interesting clip. The guitarist is Bill Gunn, who wrote a successful film called "The Landlord," as well as an off vampire film called "Ganja and Hess" He and I wrote a miniseries on Alberta Hunter for British TV's now defunch Southern TV. Notice that Jo Jones playes the trumpeter in this clip, and Roy Eldridge the drummer.

What's bitter about lauding JFA for the good work they do? I have even worked with them in the past. I was just wonder why 102 created the thread and highlighted only Freddie Hubbard. If I bore you, please do stomp off and put me on "ignore," which I thought you had done.

The JFA is not a secret organization—it has been around for several years and it has helped many jazz people in need. What is the point here? Why are you posting this, and why have you singled out Freddie Hubbard? Six thousand five hundred and fifty-five posts, most of them having nothing to do with the subject at hand! Are you trying to compete with Jim?

I still see FaceBook as something distasteful and intrusive. If that's the only way people can get "friends," they need to take a good look at themselves. I am still bothered by the fact that so many links take you to a damn FB way station. I was delighted when that little twerp didn't succeed in his greed at the stock exchange. I see nothing to "like" about FB.

Any day now, as I understand it. The boxes (CDs too, perhaps) are made in China. What isn't, these days?

New York's Mayor Bloomberg as a poster child?

Fass' preoccupation with his own ethnicity and his innate ability (desire?) to stir up hostile rather than reasoned discussion is tiresome.

THE KING JAZZ STORY, Vol. 1 SAMMY PRICE (p) New York: possibly March 27, 1945 1. In a Mezz KJ 1 – 2:55 (Mezzrow - S. Price) 2. Mezzrow talks 1:38 3 Those Mellow Blues KJ 2 - 2:41 (Mezzrow - Bechet) 4 Gully Low Blues KJ 3 – 2:24 (Mezzrow - S. Price) 5 Cow Cow Blues KJ 4 – 2:43 (Mezzrow - S. Price) 6 133rd Street Boogie KJ 5 – 2:22 (Mezzrow - S. Price) 7. Mezzrow talks 0:51 8. I Finally Gotcha KJ 6 – 2:56 (Mezzrow - S. Price) 9 Boogin’ With Mezz KJ 7 – 2:47 (Mezzrow - S. Price) 10. Callin’ ‘Em Home KJ 8 – 2:40) (Mezzrow – S. Price) 11. Step Down, Step Up KJ 9-1 - 2:36 (Mezzrow - S. Price) 12. Shakin’ Loose KJ 9-2 – 2:51 (Mezzrow - S. Price) 13. Shakin’ Loose KJ KJ 9-3 – 2:51 (Mezzrow - S. Price) PLEASANT JOE (vo) SAMMY PRICE (p) 14. Broken Man Blues KJ 10 – 2:38 (Mezzrow - S. Price) 15. New Jailhouse Blues KJ 11 – 3:08 (W. Wilson - C. Grant) MEZZROW-BECHET SEPTET Milton Mezzrow (cl); Sidney Bechet (ss); Oran “Lips” Page (tp & vo1); Sammy Price (p); Danny Barker (g); George “Pops” Foster (b); Sidney “Big Sid” Catlett (dr). New York, July 30, 1945 16 House Party KJ 12–1 - 3:11 (Mezzrow) 17. House Party KJ 12-2 - 2:40 (Mezzrow) 18. Perdido Street Stomp KJ 13-1 – 2:22 (Mezzrow – Bechet) 19. Perdido Street Stomp KJ 13-2 – 2:52 (Mezzrow – Bechet) 20. Revolutionary Blues (Part 1) KJ 14-1 – 3:14 (Mezzrow) 21. Revolutionary Blues (Part 2) KJ 15-1 – 2:34 (Mezzrow) 22. Mezzrow talks 0:49 23 Blood On the Moon (1) KJ 16-1 – 2:24 (O. Page - Mezzrow) MEZZROW-BECHET SEPTET Personnel same as above, add Pleasant Joe (vo 2). New York, July 31, 1945 24. Levee Blues (2) KJ 17-1 – 2:54 (Mezzrow - W. Wilson) 25 Mezzrow talks 1:08 26. Layin’ My Rules In Blues (2) KJ 18-1 – 2:35 (Mezzrow - W. Wilson) 27 Bad, Bad Baby Blues (2) KJ 19-1 – 2:59 (Mezzrow - W. Wilson) 28 Bad, Bad Baby Blues (2) KJ 19-2 – 2:57 (Mezzrow - W. Wilson) Total time: 70:49 THE KING JAZZ STORY Vol. 2 MEZZROW-BECHET SEPTET Milton Mezzrow (cl); Sidney Bechet (ss); Oran “Lips” Page (tp); Sammy Price (p); Danny Barker (g); George “Pops” Foster (b); Sidney “Big Sid” Catlett (dr); Pleasant Joe (vo 2). New York, July 30, 1945 1. Mezzrow talks 0:37 2. Saw Mill Blues (2) KJ 20-1 – 2:59 (Mezzrow - W. Wilson) 3. Minor Swoon KJ 21-1 – 3:03 (Mezzrow) 4. Minor Swoon KJ 21-2 – 2:55 (Mezzrow) 5. Minor Swoon KJ 21-3 – 3:02 (Mezzrow) 6. The Sheik Of Araby KJ 22-1 – 2:58 (Smith – Snyder - Wheeler) 7. The Sheik Of Araby KJ 22-2 – 3:04 (Smith – Snyder - Wheeler) SAMMY PRICE-SIDNEY “BIG SID” CATLETT New York, July 31, 1945 8. Boogin’ With Big Sid KJ 23-1 – 3:07 (Mezzrow - S. Price) MEZZROW-BECHET QUINTET Milton Mezzrow (cl); Sidney Bechet (ss); Fitz Weston (p); George “Pops” Foster (b); Kaiser Marshall (dr); Douglas Daniels (vo 3) New York, August 29, 1945 9. Mezzrow talks 1:14 10. Baby, I’m Cuttin’ Out (3) KJ 24-1 – 2:43 (Mezzrow - D. Daniels) 11. Baby, I’m Cuttin’ Out (3) KJ 24-2 – 2:51 (Mezzrow - D. Daniels) 12. Baby, I’m Cuttin’ Out (3) KJ 24-3 – 3:06 (Mezzrow - D. Daniels) 13. Ole Miss KJ 25-1 – 2:36 (Trad.) 14. Ole Miss KJ 25-2 – 3:04 (Trad.) 15. Mezzrow talks 2:04 16. Bowin’ The Blues KJ 26-1 – 2:46 (Mezzrow - Bechet) 17. Bowin’ The Blues KJ 26-2 – 2:48 (Mezzrow - Bechet) 18. Jelly Roll KJ 27-1 – 3:12 (Mezzrow) 19. Jelly Roll KJ 27-2 – 3:34 (Mezzrow) 20. Jelly Roll KJ 27-3 – 3:39 (Mezzrow) 21. Jelly Roll KJ 27-4 – 3:03 (Mezzrow) 22. Perdido Street Stomp KJ 28-1 – 2:20 (Mezzrow – Bechet) 23. Perdido Street Stomp KJ 28-2 – 2:57 (Mezzrow – Bechet) Same personnel: New York, August 30, 1945 24. 32 Bars Of Blues KJ 29-1 – 2:31 (Mezzrow) 25. Forgotten Harmony KJ 29-2 – 3:31 (Mezzrow) 26. Revolutionary Blues KJ 29-3 – 2:42 (Mezzrow) Total time: 72:34 THE KING JAZZ STORY Vol. 3 MEZZROW-BECHET QUINTET Milton Mezzrow (cl); Sidney Bechet (ss); Fitz Weston (p); George “Pops” Foster (b); Kaiser Marshall (dr). New York, August 30, 1945 1. Mezzrow talks 0:30 2. Gone Away Blues KJ 30-1 – 2:44 (Mezzrow - Bechet) 3. De Luxe Stomp KJ 31-1 – 2:33 (Mezzrow - Bechet) 4. Mezzrow talks 1:18 5. Out Of the Gallion KJ 32-1 – 3:22 (Mezzrow - Bechet) 6. Out Of the Gallion KJ 32-2 – 2:35 (Mezzrow - Bechet) 7. Out Of the Gallion KJ 32-3 – 2:33 (Mezzrow - Bechet) MEZZROW-BECHET QUINTET Milton Mezzrow (cl); Sidney Bechet (ss, cl 4); Wesley “Sox” Wilson (p, vo 5); Wellman Braud (b); Warren “Baby” Dodds (dr); Coot Grant (vo 6). New York, September 18th, 1947 8. Mezzrow talks 1:14 9. Breathless Blues (4) KJ 33-1 – 2:57 (Mezzrow - Bechet) 10. Mezzrow talks 11. Really The Blues (Part 1) ( 4) KJ 34-1 -3:11 (Mezzrow) 12. Really The Blues (Part 2) (4) KJ 34-2 – 3:05 (Mezzrow) 13 Really The Blues (Part 1) KJ 35-1 – 2:57 (Mezzrow) 14. Really The Blues (Part 2) KJ 35-2 – 2:52 (Mezzrow) 15. Evil Gal Blues (4, 6) KJ 36-1 – 2:59 (Mezzrow - W. Wilson) 16. Mezzrow talks 1:59 17. Fat Mama Blues (4, 6) KJ 37-1 – 3:09 (Mezzrow - W. Wilson) 18. Mezzrow talks 0:34 19. You Got To Give It To Me (4, 6) KJ 38-1 – 2:42 (Mezzrow - S. Wilson) 20. Hey Daddy Blues (4, 6) KJ 39-1 – 2:42 (Mezzrow - W. Wilson) 21. Whoop This Wolf Away From My Door (6) KJ 40-1 – 3:00 (Mezzrow - W. Wilson) 22. Whoop This Wolf Away From My Door (6) KJ 40-2 – 2:55 (Mezzrow - W. Wilson) 23. Whoop That Wolf Away From My Door (16) KJ 40-3 – 2:51 (Mezzrow - W. Wilson) 24. Mezzrow talks 1:48 25. You Can’t Do That To Me (5, 6) KJ 41-1 – 2:33 (Mezzrow - W. Wilson) 26. Groovin’ The Minor KJ 42-1 – 3:21 (Mezzrow) 27. Groovin The Minor KJ 42-2 – 2:55 (Mezzrow) Total time: 66:11 THE KING JAZZ STORY, Vol. 4 MEZZROW-BECHET QUINTET Milton Mezzrow (cl); Sidney Bechet (ss); Sammy Price (p); George “Pops” Foster (b); Kaiser Marshall (dr). Chicago, December 18, 1947 1. Where Am I KJ 43-1 – 4:43 (Bechet-Mezzrow) 2. Where Am I KJ 43-2 -4:43 (Mezzrow-Bechet) 3. Where Am I KJ 43-3 – 4:42 (Mezzrow-Bechet) 4. Mezzrow talks 0:43 5. Tommy’s Blues KJ 44-1 – 5:03 (Mezzrow) 6. Tommy’s Blues KJ 44-2 – 4:15 (Mezzrow) 7. Revolutionary Blues (Part 1) KJ 45-1 - 4:14 (aka Chicago Function) (Mezzrow) 8. Revolutionary Blues (Part 1) KJ 45-2 - 4:06 (aka Chicago Function) (Mezzrow) 9. Revolutionary Blues (Part 2) KJ 46-1 – 3:47 (aka Chicago Function) (Mezzrow) 10. Revolutionary Blues (Part 2) KJ 46-2 - 4:44 (aka Chicago Function) (Mezzrow) Same personnel Chicago, December 19, 1947 11. Mezzrow talks 0:55 12. I Want Some KJ 47-1 - 4:18 (Mezzrow) 13. I Want Some KJ 47-2 – 4:11 14. Mezzrow talks 0:38 15. I’m Speaking My Mind KJ 48-1 – 404 (Mezzrow) 16. I’m Speaking My Mind KJ 48-2 - 3:44 (Mezzrow) 17. I’m Speaking My Mind KJ 48-3 – 4:08 (Mezzrow) Total time: 63:04 THE KING JAZZ STORY, Vol. 5 1. I’ll Never Forget the Blues KJ 49-1 – 3:44 (Mezzrow) 2. I’ll Never Forget the Blues KJ 49-2 - 4:24 (Mezzrow) 3. Mezzrow talks 0:33 4. The Blues And Freud (Part 1) KJ 50-1 - 4:32 (Mezzrow) 5. The Blues and Freud (Part 2) KJ 51-1 - 4:12 (Mezzrow) 6. Kaiser’s Last Break KJ-52-1 – 4:18 (Mezzrow) 7. Kaiser’s Last Break KJ 52-2 – 4:30 (Mezzrow) Same Personnel Chicago, December 20, 1947 8. I’m Goin’ Away From Here KJ 53-1 – 4:21 (Mezzrow) 9. I’m Goin’ Away From Here KJ 53-2 – 4:12 (Mezzrow) 10. I Got You Some KJ 54-1 -3:37 (Mezzrow) 11. I Must Have My Boogie KJ 54-2 – 3:44 (Mezzrow) 12. Funky Butt KJ 54-3 – 4:13 (Mezzrow) 13. Funky Butt KJ 54-4 – 4:14 (Mezzrow) 14. Delta Mood KJ 55-1 – 4:21 (Mezzrow - Bechet) 15. Delta Mood KJ 55-2 – 4:21 (Mezzrow) 16. Blues Of the Roaring Twenties KJ 56-1 - 4:03 (Mezzrow) 17. Mezzrow talks 0:55 18. Blues Of the Roaring Twenties KJ 56-2 – 3:59 (Mezzrow) The following track only included out of curiosity. Unknown personnel: (Harmonica, b, dr) 19. Caravan KJ 57-1 – 4:00 (J. Tizol) Total time: 72:19

Will that have anything that those two volumes on GHB didn't? I thought those were complete. I am not familiar with the GHB set. This one includes all the alternate takes (no false starts or incomplete takes, of course) and a mystery track on which an unidentified harmonica player renders "Caravan" with bass and drum accompaniment. It was among the King Jazz masters, so they decided to include it as the last track. This set also contains the spoken intros Mezz recorded for Storyville.

This one's around the corner...

Confirmed.

Shirts and jackets come with a reinforced right sleeve.

I had been away from my apartment most of the day, came home and turned on the TV (pre computer era). As I sat in my living room watching the evening news, I thought I heard the sounds of an alto sax coming from somewhere other than the TV set. Mystified, I got up and traced the sound,,,it was coming from a closet in my bedroom! As far as I knew, nobody else was in my apartment—but I was wrong. "anybody there?," I shouted. The second time, having raised my volume, the saxophone playing stopped, the door opened, and a musician, sax in hand, stepped out—totally naked!!! Although I am pretty sure that this musician is no longer around, I won't give you his name, but he has played and recorded with top people and may well be present on an album in your collection. How did he get into my apartment? He had stayed here a couple of times a few years earlier, when he and his wife were experiencing marital problems, so he still had the keys. If that sounds too far out to be believable, I agree—but it really happened and it was a totally unexpected musician sighting.. In a few months, I will have lived in this place for half a century—how great it is that apartments can't talk!