John Tapscott

I too, am surprised at sidewinder's comments. I have lived in the Canadian cities of Toronto, Halifax, and Mississauga. No problem is getting Coda in any of these cities, as long as you know where to look, mainly bookstores and newsstands with large magazine sections (not your average corner store, for sure). I had subscription problems 25 years ago (they stopped sending me renewal notices), so I just started to buy it at the newsstands. I really enjoyed the magazine when John and Bill were in charge. You could somehow sense the "labor of love" aspect of the magazine and you had to enjoy it just for that. But there were also excellent articles and reviews covering a broad range of "jazz" (which I am interested in), and "improvised" music (not really my cup of tea). But there was generally enough to satisfy fans of both genres. I must admit that I rather lost interest after Warwick took after. I felt that even then it started to take on a "glossy" look, though it's content didn't change all that much. I suspect that the government support for Coda (from the Canada Council and the Ontario Arts Council - freely acknowledged by the magazine on its index page) was both blessing and curse. Those grants probably kept the magazine alive for years, in spite of its relatively low circulation, but perhaps allowed the magazine to get a bit sloppy in terms of administration and customer relations. I'm sure that the loss of government funding is at the crux of the magazine's current problems. Whether or not tax dollars should be used to support "The Journal of Jazz and Improvised Music" is a rather controversial matter, of course. But it was good for us while it lasted.

Got to give for those Timeless Dates, "Jazz Poet" and "Beyond the Bluebird." One of Tommy's last recordings: "Sunset and the Mockingbird" (Blue Note). Tommy was great right to the end. And that recent Great Jazz Trio Cd "Autumn Leaves" with Hank Jones, Richard Davis, and Elvin Jones is especially fine. Haven't heard the second one they did, but I'm sure it's just as good.

Nate: I haven't heard of this one or seen it yet, but I like Bill Mays. What are the details? Thanks

Well, I'll go from what I know and what what I remember reading in Steven Harris' massive "Kenton Kronicles." I believe Gioga was a California native and was hired by Kenton for his first rehearsal band in 1940. He stayed with Kenton until just before the European tour in the fall of '53. I think illness forced him off the road. Kenton introduces him on Johnny Richards' 1952 "Prologue - This is An Orchestra" by saying "He has been a part of every sound this orchestra has made." Gioga retired from music after leaving Kenton. He and his wife bought a small farm in California (a lemon-tree farm, I believe) and ran that for the rest of their lives. Gioga died within the past 3 or 4 years (at age 90 or so) but had suffered from Alzheimer's for a few years before that. But until the disease set in he took part in panel discussions (thouigh he didn't play) at various Kenton tribute events. Jim's right - he wasn't a soloist, but a solid section player. He must have also been a pretty good reader. When you think about it there was some pretty incredible stuff going on in those years with Kenton - the Progressive Jazz Band, the Artistry in Rhythm band, the New Concepts Band, the Innovations Orchestra, the Graettinger stuff, and the earlier Lunceford-styled band. You might hate it all musically, but there were some great musicians on the band in those years - Pepper, Rogers, Cooper, Ferguson, Candoi, Konitz, Rosolino, Getz, Winding, Musso, Safranski, Bernhart, Manne, Levey, etc., etc.

Leaving Frank Rosolino off any list of bop trombonists is a major omission. He was active in the late '40's, which was about as close to the bop pioneers as you could get. Not that he was a bop innovator, but if you limit your list to only the innovators you'll have a very short list. I wonder if Carl Fontana is on Yanow's list?

I will go on record as saying that for the most part, I really dig Buddy's band. I think in the late 70's/ early 80's he played a few too many funk charts for my liking, but otherwise, his book was very deep with many strong charts by excellent writers. I have to respectfully disagree with several of the points marcello makes: About keeping soloists: Pat LaBarbera for 7 years, Steve Marcus for 12, Andy Fusco for 4, Barry Kiener off and on for nearly 10. Not bad. Ballads: Every set Rich played included at least one ballad. Here are several which come to mind and which have been recorded: "Alfie" featuring Art Pepper; "'Round Midnight" featuring Marcus: "Lush Life" featuring Rick Stepton; "If You Could See Me Now" featuring Andy Fusco; the middle section of "Channel One Suite" featuring Don Menza and later Marcus. In fact, every one of the big suites Buddy played (Channel One, West Side Story, Tommy, Good News) included a slow ballad section. If you are interested in the artistry of Buddy Rich the recent DVD "Live at the Montreal International Jazz Festival 1982" is a must-see. There is a remarkable chart by Joe Rocissano called "Brush Strokes" in which Buddy plays soft brushes throughout with the band (not just the trio); plus the aforementioned "If You Could See Me Now".

There is at least one other Kiener recording. I know because I have it. I'll have to dig it out tonight, but I think the name of it is "The Barry Kiener Trio" from around '77 with Tom Warrington on bass and DEEP on drums. Haven't heard it for a while. It covers a bit of ground stylistically but is centered around some very rapid bop pieces. I believe it's on a label called Phoenix. Also Barry can be heard on Buddy's "The Best Band I Ever Had" LP/CD, as well as on Buddy's "Plays and Plays and Plays..." LP (some of which was reissued on a Novus CD).

I figured NE would win, but that was a pitiful display by the Colts.

Grant Stewart is a new name to me. A reed player, I presume. Anyone have any more info on Mr. Strewart? He must be a high level player to be on this kind of date.

My fearless predictions; The Jets don't have a prayer. Steelers 34, Jets 13. No contest I like Minnesota but a one game winning streak is about all they can handle. Eagles 35, Vikings 20. I can't see the Falcons blowing it at home. Plus 8-8 teams don't go on three game winning streaks This one could be close, though. Falcons 30, Rams 24 The one game that could be an upset is NE/Indy. But not to be, sadly for Colt fans, not with that defense. It'll be close, though Pats 35, Indy 30.

Gary Smulyan - Woody Herman Steve Marcus, Andy Fusco, Walt Weiskopf, Bill Cunliffe, Dave Carpenter & already mentioned, Conrad Herwig - Buddy Rich A trombonist by the name of Paul McKee - Woody Herman

I was watching the game on TV and to be honest, I didn't even see what Moss did after the touchdown. From the camera amgle, you could hardly see it, and it was over in an instant. I was thinking about the touchdown and all of a sudden, the announcer starts going on about Moss' classless act (which it was, of course). But I kept wondering what he did. The problem with these things is that they're not only classless, but they shift everyone's focus away from the real story of the weekend, which was Duante Culpepper's masterful performance. Peyton Manning gets the headlines, but didn't Culpepper have an even higher QB rating on the day? And in Favre's backyard, no less. When Duante's on his game, there are few better. I love watching him play QB. He's got it all.

Andy Fusco & Gary Pribeck. Both are fine bop based players and both had lengthy tenures with the (in)famous DEEP.

Other notable alto players with Kenton (aside from the well-known guys like Konitz, Pepper, and Mariano) - Gabe Baltazar and Kim Richmond. Richmond is playing especially well these days and he's writing some great material for his own big band. His recent CD's are definitely worth checking out.

One of Stan Kenton's alto players from the '70's - John Park.

My sister gave me Branford Marsalis' "A Love Supreme Live." I know there'a a thread about this which I haven't read, so I'm not sure what the rest of you are saying about it. I think the performance is very good and very intense. The camera work and picture quality could have been better, though. And the added features seem kind of amateurish.

The first jazz book I ever read was by Martin Williams. Yes, it was The Jazz Tradition, which I admit I lifted from my high school library some 32 years without signing it out and never bothered returning it. I console myself by saying I'm probably the only one who would have read it! I always enjoyed that book, and later bought the revised edition. One of the great things about that book was that it introduced me to musicians I'd never heard of before. For some reason, I always enjoyed the chapter on Horace Silver. I'd never heard of Horace before but the way Williams wrote of him made me want to really check out his music. But that was true about a lot of the musicians in the book. I've read Where's the Melody, but to me, The Jazz Tradition was the better and more memorable read. I also picked up the Smithsonian Jazz Collection Set on Lp while on a trip to DC some years ago. Williams was a good writer and quite insightful, though of course, his opinion is not necessarily any more valid than anyone else's. From the little I've read of him he tended to stand somewhat aloof from the "jazz community" and he didn't make himself any friends with his criticism of John Coltrane. 'Trane seemed to be one musician Williams never really "got".

Unfortunately, the heart is never content. I too am a jazz-aholic, perhaps not quite in the same league as some of my fellow-listers, but bad enough. I have slowed down a bit lately, and plan to buy less in the new year, as I am doing a systematic listen of my entire collection a la Dan (which should take quite a while!) This is probably the best way to at least slow down for a time, if not stop one's purchases altogether. The latter happens only when one loses a job! Thankfully, I don't feel the pull of the brick and mortar stores that I once did. There's not much in them I want, anyway. But the internet is always close at hand! And I must say I always enjoy the rush of opening the maibox and finding a CD or two there. It's probably similar to the rush a smoker feels when he or she lights up. Most of my purchases are moitvated not by a desire to collect, but a curiosity about the music, and also by a real enjoyment of the music. And perhaps there's some secret desire in all of us to find the ONE CD that will make our hearts content once and for all and put an end to all this nonsense. Unfortunately, no one CD can ever fill that bill. My worst binge in recent memory? 5 Mosaics at one time. Since jazz is the only music I've really ever collected, I've always wondered if the addictive tendencies of jazz are in other types of music, too. In other words if you were to go to a country music or classical or rock forum, would we find collectors there with similar comments/complaints? I suspect so.

Lots has been written about these two and both will certainly be considered classics by generations to come: Andrew Hill - Passing Ships (Blue Note) Maria Schnieder Orchestra - Concert in the Garden (ArtistShare) I discovered this guy this year and really dig his playing. In fact, it's how I would like to play piano if I had the gift: Tardo Hammer - Tardo's Tempo (Sharp Nine) I also got into Eric Alexander in a big way this year and have started not only to appreciate his playing but to really enjoy it. Hence - Eric Alexander - Nightlife in Tokyo (Milestone) One for All - Blueslike (Criss Cross)

I agree with Soulstream. Hardbop's postings on AAJ about the NYC scene are usually pretty interesting. He obviously spends a lot of time at clubs and concerts and a lot of $$$ on recordings. Indeed, I enjoy a lot of the same kind of music he enjoys. But the other posters are right, too. He spoils a lot of his posts with the attitude of "The jazz I like is obviously the best jazz, and if I don't like something, then it must be no good." Back in my younger days when I was a bit of a jazz snob, I had a similar attitude. But I've grown out of it. I hope Hardbop does, too. I've learned you can be enthusiastic about the music you enjoy without always taking a shot at something or someone else.

I really like the Harry Allen "Night at Birdland" CD's (2 Volumes) with the "Blue Note" covers. Though they were made in '93, early on in Harry's career, I've never heard him play better.

Ordered Anthony Wonsey "Blues for Hiroshi" (Sharp Nine) - really looking forward to this one.

Brad: You should be excited. I wish I could join you. Many Board members would differ with me on this, but IMHO, Eric is a great tenor player, one of the best out there today. I just got "Nightlife in Tokyo" with Mabern. This is an exceptionally good CD.

Other. Paris 1960 (Pablo)

Pryan: I know it's hard to be patient when you're waiting for something, especially from Mosaic, but my experience is that everything coming from the US to Canada is WAY slower than usual these days. I think it's getting hung up in Canadian customs. I believe Customs officers are on some kind of work-to-rule or slowdown over $$$$$ (what else?) Of course, it could also be a bit of Canadian retaliation over mad cow and softwood and who knows what else. Some people are kind of hoping Dubya gets slowed up or even turned back at the border when he comes to visit at the end of the month! The good news is that while things have been greatly slowed up they DO arrive eventually. I think you'll be able to celebrate Christmas with the Mobley set. Happy listening.