Tom in RI

Maybe someone here knows what the limit was for Limited OJC's. I think I remember reading somewhere that it was 10,000, which is probably more than the great majority of OJC'c, Limited or otherwise, sold.

There is a cut on Ken Serio's newest cd, Purple Dreams, that lets Pete McCann and Vic Juris loose on the Smoke on the Water riff.

Thanks David, my package came in yesterday.

I remember seeing the Sam Taylor titles on MGM used and always passing them by, strings and vocal choruses send up a red flag for me. The issue that Verve put out on their Swingsation series has always bugged me since they opted to include Alan Freed's dubbed in vocals and cowbell (I guess he was way ahead of the curve in the "needs more cowbell" thing).

And received.

This is my third attempt top give a disc away (no love for Guillermo Klein or Stephan Crump). Anyway, offering the BMG version of New York Stories on Blue Note featuring Bobby Watson, Roy Hargrove, Joshua Redman, and the recently discussed Danny Gatton. First to pm gets it.

I really enjoy "Centirc", with great support from George Garzone, liked it enough to pick up Weights and Measures on Playscape, his most recent release I believe.

Just to clarify, I am not passing any judgment on Buchanan at all, as I noted, I haven't a lot by him and what I did hear was quite some time ago (like 20 years).

Buchanan and Gatton. Both spent considerable time in the DC area. Both were monster guitarists who did not sing and often had not so great vocalists in their bands. Both had keyboard player Dick Heintze (a big influence on Gatton) in their bands at different times. Buchanan was rumored to have been asked to join the Rolling Stones, Gatton was asked to join Lowell George's band (just before he died). Both are identified with the telecaster. Both took their own lives. Personally, I heard some Buchanan years ago but I never heard the lp that lead to that "I get him" moment. As for Gatton, the first time I heard him on the vinyl version of Unfinished Business, I was totally wowed and have been tracking down stuff by him since.

Count me in the group that likes Danny Gatton. I would rate his Relentless date w/Joey DeFrancesco as a more successful date than the Blue Note disc, New York Stories mentioned above (I read somewhere recently that Gatton did all his parts as dubs in a studio and wasn't present when the rest of the music was made which I found a little hard to believe). As to other discs to get, I would look for Unfinished Business which includes two of my all time favorite Gatton songs, Melancholy Serenade (the theme from the Jackie Gleason show) and Sleepwalk. There are a couple of songs on the disc I usually skip but overall it is a fine effort from Gatton. From there I would strongly recommend the 2 volumes of Redneck Jazz Explosion with Buddy Emmons. Incidentally Big Mo records is having a sale as I write on Relentless and vol2 of Red Neck Jazz Explosion (9.95) among other titles. I would avoid the live date on Big Mo, In Concert 9/9/94, its not his best work and I don't know why it was released when there is so much better live Gatton out there. Also, Gatton has been booted relentlessly and a lot of his stuff going back to the 1970's including a night with Lenny Breau has been making the rounds. As is the case with live recordings fidelity varies greatly. As for the criticisms above I would note that Gatton was a reluctant "star", didn't like to travel and had a negative experience with the one shot he had with a major label. I think that he played exactly what he wanted to play and wasn't concerned with leaving some deep musical legacy. I believe he played what he enjoyed and was lucky to find what audience he did. He definitely had some set pieces in his repertoire such as Harlem Nocturne, Sleepwalk, and the Linus and Lucy/Orange Blosom Special medley that ended many of his shows. And you can hear the same references to the same goofy tv themes from show to show. For me personally, it just hasn't gotten old.

PM sent for Chris Cheek Blues Cruise Miguel Zenon Awake Peter Bernstein Signs of Life $7 Hans Glawischnig Panorama

Tenor Gladness w/Warne Marsh and Lew Tabackin.

Email sent on: Blackman ,Cindy – Telepathy (Muse) $6 Brown ,Donald – Cartunes (Muse) * $4 Coker ,Dolo – California Hard (Xanadu) A.Pepper, B.Mitchell $6 D’Rivera – Paquito – Havana Café (Chesky) $5 8 Bold Souls – Sideshow (Arabesque) * $3 Either/Orchestra – Afro-Cubism (Accurate) wonderful * $5 Grismore/Scea – Of What (Accurate) Tim Hagans, Matt Wilson $3 Pepper ,Art – Live in Toronto 1977 (Naked City) $3 Quebec ,Ike – Soul Samba (blue Note) Conn $6 Ruiz ,Hilton – Manhattan Mambo (Telarc) $5 Vega ,Ray – Pa’Lante (Palmetto) $4

Sending pm on "Improvised Meditations & Excursions/Eastern Exposure" - John Lewis / Fred Kaz - (atco collectables) $8.00. Thanks.

Now its down to $17.99. I have my fingers crossed.

The most constructive thing in this thread, for me, was Sangery's link to Howard Wiley (although I find it a little amusing that he works in Lavay Smith's band who I enjoy personally but who would probably be excoriated for being too derivative here). Allen Lowe, nice Pres reference at the top of this page. Clementine, do you talk to people that way in person, if so, you must get into a lot of beefs.

Here's a quote from Preston Hubbard's website which speaks a bit to the nature of Hamilton Bates and the Blue Flames, there's also a picture of the band there, When I graduated high school, I worked in a warehouse to save money for RISD, where I had been accepted on partial scholarship and would later attend for two years with Tina Weymouth and Chris Franz, from the then not-yet-formed Talking Heads. I started the Blue Flames, a quartet, with my high school friend Scott Hamilton, who has gone on, after taking New York by storm, to be an international jazz star and Concord Jazz label's biggest selling artist. We began as an R&B band, but over a five year period metamorphosed into a straight up mainstream jazz band. Standards and ballads. We turned our backs on rock music, cut our hair off (it was not a fashionable thing to do then), and became total jazz Nazis. It was all good, though, because we were focused, and I really cut my teeth on that shit and got serious about the bass, especially the upright bass. We were thrilled and honored to back Roy "Little Jazz" Eldridge for a week once, with Charlie Watts in attendance one night, and I even got to smoke weed with Roy in his hotel bathroom! I would later be lucky enough to play with many greats and idols of mine. Scott Hamilton guested on Roomful of Blues 1st lp. I saw him as part of a band backing Helen Humes in the mid 70's in Providence which I remember enjoying quite a bit. I last saw Hamilton playing with Roomful founder Duke Robillard at Chan's in Woonsocket, RI maybe 4-5 years ago. It took Scott a couple of tunes to get warmed up but it was a very enjoyable evening. I understand Larry doesn't care for Hamilton and I think his explanation why is quite articulate but I don't think its necessary to take it a step further and label his work as "wrong" just cause you don't like it.

By NATE CHINEN Published: February 21, 2008 Not quite a month ago the alto saxophonist Andrew D’Angelo had a major seizure while driving his elderly landlady to a store in Brooklyn. “I was convulsing all over the place,” he later wrote on his blog, “grabbing onto the steering wheel violently, biting my tongue and basically acting crazy.” Fortunately, the driver behind him recognized what was happening, and after quite a bit more drama — in the ambulance, Mr. D’Angelo apparently tore through the straps of his gurney and tried to strangle an emergency medical technician — he underwent testing that revealed a large tumor on his brain. Within days he was scheduled for surgery and had started writing about the experience at andrewdangelo.com. He was clear about the fact that he had no health insurance. The health of jazz, as a topic of conversation, has long inspired a lot of hand wringing among sympathetic parties. When the focus turns toward the health of jazz musicians, the discussion assumes a different, less abstract character: solicitous and supportive. Most people who play jazz for a living are accustomed to self-reliance. When that system fails, they lean on one another. “Since I’ve been on the scene, there have been benefits for musicians that were in need, unfortunately, because so many of us are,” the guitarist John Scofield said in the rear stairwell of the Village Vanguard on Monday night. Along with the tenor saxophonist Joe Lovano and the Vanguard Jazz Orchestra, he was playing a benefit for the bassist Dennis Irwin, who has recently been struggling with a spinal tumor. “I’m lucky enough that I can afford health insurance,” Mr. Scofield continued, “but a lot of people can’t. On a jazz musician income they’re getting by from gig to gig, keeping the roof over their heads and feeding a family, and insurance doesn’t happen for them.” Mr. Irwin, the regular bassist with the Vanguard Jazz Orchestra and a seasoned sideman who has logged extensive time with Mr. Scofield and Mr. Lovano, is another uninsured musician. The sudden struggles of Mr. Irwin, 56, and Mr. D’Angelo, 41 — musicians equally beloved in different sectors of the New York jazz grid — have abruptly brought the issue of health care to the foreground within jazz circles. Their stories have resonated with musicians, who tend to absorb news of this sort with a tribal concern: jazz is a collaborative art, after all, even if its artists are the ultimate individualists. It may seem negligent that so many jazz musicians lack basic health-care coverage, but monthly fees through an organization like the Freelancers Union easily run to several hundred dollars, and these days many gigs in New York literally involve a tip jar. The Vanguard sets were a great success, financially as well as musically (it was Mr. Scofield’s first time performing with the orchestra, and he nailed it). There will be another, bigger chance to support Mr. Irwin on March 10, when Mr. Scofield and Mr. Lovano spearhead an A-list benefit concert in partnership with Wynton Marsalis and Jazz at Lincoln Center. Proceeds will go to the Jazz Foundation of America, a nonprofit organization that provides aid to jazz and blues musicians. Mr. Irwin, speaking this week from his Manhattan home, said he had just completed radiation treatments. His ordeal began in December with a mysterious back pain. The Jazz Foundation referred him to the Dizzy Gillespie Cancer Institute and Memorial Fund at Englewood Hospital and Medical Center in New Jersey, which regularly provides free treatment to jazz musicians. (Dr. Frank Forte, the institute’s director and a jazz guitarist, treated Gillespie there during the final months of his battle with pancreatic cancer in 1993.) The Jazz Foundation does considerably more than steer musicians toward services. Its mission also involves protecting musicians from eviction, malnutrition and other misfortunes. “We get 60 cases a week like this, each having its own urgency and desperation,” Wendy Oxenhorn, the executive director, said. Referring to Mr. Irwin, she added, “I’ve never seen an outpouring of so much for one musician.” If that’s true, Mr. D’Angelo runs a close second. “I knew that I was loved,” he said this week, “and I knew that this musical community was close. But I had no idea the compassion ran this deep, and I mean that from the bottom of my heart.” Mr. D’Angelo is a key figure in Brooklyn’s underground jazz scene, and part of a peer group that includes the guitarist Kurt Rosenwinkel, the drummer Jim Black and the saxophonist and clarinetist Chris Speed. He has a strong new album, “Skadra Degis,” on Mr. Speed’s label, Skirl, with Mr. Black and the bassist Trevor Dunn. Its release party had long been scheduled to take place Friday at the Tea Lounge in Park Slope. The gig is still on, but now it will be one of more than a dozen benefits for Mr. D’Angelo, spread across the United States and Europe. Mr. Black, Mr. Speed and Mr. Dunn will perform, as will the multireedist Oscar Noriega and the drummer Matt Wilson, two more of Mr. D’Angelo’s close compatriots. A separate benefit is scheduled for next Thursday at Barbès, also in Park Slope. Mr. D’Angelo has received financial support from both the Jazz Foundation and the MusiCares Foundation, a program of the National Academy of Recording Arts and Sciences. His operation was a success in the sense that most of the tumor was removed, with no adverse effects. But further analysis revealed that he has an especially serious form of brain cancer. “The doctor said that without treatment, I will live for five years,” he wrote last Friday, after receiving the news. “Seems dismal and I’m unwilling to accept it.” He is likely to begin radiation treatment shortly, having ruled out further surgery. Apart from the dramatic nature of their stories, Mr. Irwin and Mr. D’Angelo are sadly not exceptions. A few years ago, for instance, the tenor saxophonist Michael Blake had two operations for a ruptured appendix. Having no insurance, he chose Bellevue Hospital Center for its sliding-scale fee; he also received assistance from MusiCares. He still has no insurance, though he is obviously aware of the risks. (He just spent the weekend at Bellevue watching over Scott Harding, a prolific record producer and engineer who was critically injured in a car accident last week. Mr. Harding does not have insurance either.) The situation is the same for Mr. Speed, who has spent a lot of time visiting Mr. D’Angelo in hospitals lately. “A lot of my friends, myself included, don’t have insurance, which seems really idiotic, especially now,” he said. “But it’s also very expensive to get coverage.” It should be noted, too, that even musicians with health coverage encounter serious financial needs; this is one of the major areas of concern for the Jazz Foundation. The costs associated with an illness can go well beyond the literal costs of treatment, because a musician who is not working usually translates to a musician without an income. Last October the pianist George Cables, who does have private health insurance, had simultaneous transplant operations, receiving a new liver and kidney. While the procedures were covered, he has not been able to earn a living during his recovery. So he was fortunate to have two all-star tributes presented in his honor recently, in San Francisco and New York. He received about $12,000 from each, he said. But the money wasn’t the only benefit, so to speak. “One of the best things for me was how people came together, and expressed their concern, and expressed their support by coming and playing,” he said. “That was better than anything.” Benefits for Andrew D’Angelo: Friday at the Tea Lounge, 837 Union Street, near Sixth Avenue, Park Slope, Brooklyn, (718) 789-2762, tealoungeny.com; Feb. 28 at Barbès, 376 Ninth Street, at Sixth Avenue, Park Slope, Brooklyn, (718) 965-9177, barbesbrooklyn.com. Benefit for Dennis Irwin: March 10 at the Allen Room, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, (212) 721-6500, jalc.org.

My favorite Leo Parker is on the Chess lp "The Late Great Baritone" which has sessions from 51-53, good sessions and better fidelity than his dates from the '40's. I don't think this has been out on cd. Back to Back Baritones on Collectables is also worth getting, it can be had for cheap, although I never listen to the Sax Gill sides.

Extra value is what you get When you play Coronet!

If you have seen Roomful of Blues in the last 27 years chances are you saw Bob Enos play. http://www.projo.com/music/content/lb-enos...16.13e1d16.html

Co-founder of Jazz Festival dies at 93 01:00 AM EST on Wednesday, November 28, 2007 By Richard Salit Journal Staff Writer The Lorillards, Louis and Elaine, and George Wein, right, in 1954. The Lorillards founded the Newport Jazz Festival and hired Wein to organize it. Journal FILE PHOTO NEWPORT — Elaine Lorillard, who has been credited with founding the Newport Jazz Festival, died Sunday at a nursing home a few miles away from the grounds where the summer festival continues to thrive more than a half-century later. She was 93. While George Wein is often considered the festival’s founder, it was Lorillard and her former husband, Louis, who hired him to run it, according to histories of the jazz series. The festival was bittersweet for Lorillard. In a 1997 interview with The Providence Journal, she complained that Wein has described himself as the founder and that, despite its ability to attract big name sponsors, “I never saw a penny from that festival.” “I am proud of what I did, but it’s brought me great unhappiness,” she said. Lorillard, who was born in Maine, died at Heatherwood Nursing & Subacute Center, not far from her longtime home on Dennison Street. She had just moved to the nursing facility recently. “She died in her sleep,” said Christine Lorillard, a daughter-in-law, who is married to Lorillard’s son, Pierre. They live in Los Angeles. Lorillard’s only other surviving child is Edith “Didi” Cowley, of Newport. Lorillard never lost her passion for jazz or ceased seeing herself in relation to the festival. “She took pride in it. She talked about it all of the time,” said Christine Lorillard. “It was one of the highlights of her life.” Her house was adorned with festival memorabilia and plaques given to her commemorating her contribution to jazz. Among them was a White House invitation from 1993 when President Bill Clinton held a jazz concert to commemorate the 40th anniversary of the festival. She also held onto a copy of the original festival charter: The only names on it are the Lorillards and three lawyers. In a book called Newport Jazz Festival: The Illustrated History, author Burt Goldblatt quoted famed music producer John Hammond as saying, “As far as I’m concerned, Elaine Lorillard should have the whole credit for the concept of the Newport Jazz Festival.” Lorillard’s husband was a descendant of the original owner of The Breakers mansion and the founder of Lorillard Tobacco Co. In Louis Lorillard’s 1986 Providence Journal obituary, Elaine Lorillard traced the festival’s origin to “when I thought of the idea and he said he would back it.” Her husband hired Wein, of Boston, and cut him a check for $20,000 for expenses. The couple left town and returned for the festival. “We were absolutely floored by it,” she said. “We thought it was going to be just a local kind of thing, and people came from all over the world.” Lorillard divorced her husband and broke from the festival, eventually suing it in 1959. But she and Wein reconciled and in 1992 the two appeared on stage together on the festival’s opening night. In 1997, she was honored at the Jubile, Franco-Americain, in Woonsocket. She served on the board of directors of the festival and pushed the organization to feature jazz during its concert. In the early years of the Newport festival, musicians would hang around her house. She always remembered sax virtuoso Gerry Mulligan sleeping on her lawn during the festival. But it was the music as much as the players that she long revered. “She had an original collection of albums that she gave to us that she prized,” said Christine Lorillard. “And she was passing that on as a legacy to her son.” She said that the family will have a private memorial service at an undetermined date. rsalit@projo.com

Scotty Moore John Ore Les Paul

Jimmy and Doug Raney play Stolen Moments on a Steeplechase release of the same name.

As to times on lps, the longest at the time of its release was a Todd Rundgren lp that, if memory serves, had sides of 38 and 37 minutes. A jazz release that stands out in this regard is the Milt Jackson reissue on Savoy, Second Nature, with 4 sides over 25 minutes each.