Larry Kart

I haven't seen it either, but my guess is that it's little.

OK -- I've listened. First, there's no way that's Chu Berry. Berry's characteristic rolling-and-tumbling rhythms aren't present; tone is quite different too -- more plane-like, less rounded. Second, nice as the tenor playing is, I hear no startling anticipations of bop here. Finally, I think I know who the talented tenorman is -- Franz Jackson. Listen to Jackson on his 1939 Arcadia Ballroom recordings with Roy Eldridge. If that isn't the same guy, I'm Harry Potter's little dick. And if it isn't Jackson, there were a lot of tenormen playing in that bag then, including Franz's predecessor with Eldridge, Dave Young.

So what are the titles of those magical tracks?

When I got my copy of the email yesterday afternoon, I could see that the original had been sent to about 12 recipients by its author Thulani Davis, which apparently led the recipients to think that Davis wanted them to forward it to other interested parties, one of whom sent it to Leeway, who posted it here.

It's P.D.

I agree with the beginning of the article: "It shouldn't be this way..." Though not in the way the writer meant.

It may have been one of the moderators who did that that would of been kind of a lame thing to do, though... I totally disagree. I think everyone, but especially the native English speakers here, should try to use correct English which can be understood by all, including those whose first language isn't English and may have trouble understanding mangled English. I'm with Ubu. The original heading was correct for the (presumed)text. Well, yes, but it's possible that the illiteracy of Chewy-speak is more or less a put-on or a mask, a la Moms' persona. Presumed, indeed. Took me a beat to get it, but

From the IMDB: ◄ Artie Shaw: Time Is All You've Got (1985) Artie Shaw agreed to do the film after being interviewed by Brigitte Berman for her previous film about Bix Beiderbecke, Bix: 'Ain't None of Them Play Like Him Yet', which he felt was an accurate documentary. After the film won the Academy Award, Artie Shaw sued Brigitte Berman in Canadian court, claiming ownership of the film (which he liked). When he eventually lost his case both in the initial trial and on appeal, he restarted the suit in California courts. The legal difficulties prevented the film's release between 1987 and Shaw's death in 2004.

Given how intensely whack-o narcissistic Shaw was, and how paradoxical that crucial strain in his nature was in relation to the beautiful music he made (this paradox may closely resemble that of Art Pepper), a Shaw bio presents grave problems. If you had extensive access to the man, as Nolan did, he would do his considerable best to seduce you, or at least pull you into his realm of fragile grandiosity. In that sense, the Canadian documentary film about Shaw from (I think) the 1980s, was almost inadvertently quite effective. The filmmakers were more or less awestruck (though they and Shaw had a big falling-out later on), allowing Shaw to ramble on in his self-aggrandizing/self-justifying manner, but because the style of the film was straight-on documentary, it was not hard for a viewer to see that Shaw was an a--hole maniac in the top class (which, again, did not preclude his being a musician of genius).

Quite a band that was, and Desmond was a fine singer. I also like the shorter version on "The Secret Broadcasts" -- great sound.

First recording of "Moon Dreams" (by Martha Tilton) was also the first recording made by Capitol Records:

In "The Glenn Miller Story," Morgan played pianist Chummy MacGregor, composer of "Moon Dreams," later arranged so handsomely by Gil Evans for the Birth of the Cool band.

Nolan's book is no bargain IMO. In particular, his overuse of emphasized words in quoted speech -- e.g. "So I said to Lou Fromm, take it down a little or you're fired" (not an actual quote but my recollection of how things go) -- is not only maddening in itself but also tends to make everyone sound the same. That is, if Shaw himself spoke that way, OK --though if he did, I'd appreciate a note to that effect from the author. But when everyone speaks that way, it feels like a damn carnival ride.

Enjoyed his dry Midwestern wit on Dragnet especially. Also, anyone know what the connection is between Morgan and the so-called Birth of the Cool band?

Mmmm http://www.youtube.com/watch?v=YxZCu_TjO9o

A favorite track from a favorite album:

Larry -- would this be Joseph's Uptown session? Looking forward to it, whatever it may be. yes

Not a book, but i'm writing liner notes for an expanded reissue of an album by cornetist Don Joseph and hope to gather all the reliable info that can be found about this gifted but elusive musician, who was even more elusive than his good friend, the somewhat similar-in-style Tony Fruscella. Joseph doesn't even appear in Feather-Gitler.

Echoing BillF (perhaps), if it's so damn unregulated, why does so much of it look the same?

Another by the same band (or so it seems, despite the date given):

Charlie Shavers' "Serenade To A Pair of Nylons" is a gas, with a fascinating early (1945) Buddy DeFranco solo: Also, when the record starts spinning, this particular picture gets interesting.

The first side of "Coleman Hawkins -- Disorder at the Border" (Spotlite 121), live at Birdland on 9/13/52, with Horace Silver, Curley Russell, and Connie Kay. You haven't lived into you've heard Silver comp behind Hawkins and Eldridge. Side two, from a week earlier and also on fire, has Howard McGhee, Silver, Russell, and Art Blakey!

This one: (F) ROY ELDRIDGE AND HIS ORCHESTRA: Roy Eldridge (tp), Oscar Peterson (p), Herb Ellis (g), Ray Brown (b), Buddy Rich (d). Fine Sound, NYC, September 15, 1954 1961-1 If I Had You 1962-2 Blue Moon 1963-5 Stormy Weather 1964-1 Sweethearts On Parade 1965-3 A Foggy Day 1966-1 I Only Have Eyes For You 1967-1 Sweet Georgia Brown 1968-1 The Song Is Ended Note: All titles issued on Clef MGC683, Verve MGV8068. P.S. Lots of individual tracks from the '30s and '30s, but Roy not only plays great on the one above, but the album also holds together as an album.

Which part? Or everything? I did mis-spell meritricious.