ladenso1

I recently became aware that the great Los Angeles Elks Memorial Concert of July 5, 1947 (relying on memory; I think that's the correct date) was reissued fairly recently as a 3 CD set, titled _Bopland_, and that it contains a 20 minute-or-so jam on "Perdido", never previously issued. If anyone could give a personnel listing for that track I'd really appreciate it.

Correct. Yeah. Missed that error in the original post. When Moody did a guest stint on Billy Taylor's late lamented program, Jazz From the Kennedy Center, maybe ten years ago, he related that he had brought up only his tenor from Paris to Stockholm for the date. He was asked if he wanted to use one of the other players' alto and he agreed. So the famous intro you hear, that was vocalized as "There I Go, There I Go, There...I...Go" represented him playing a few bars trying out the instrument. Also, I haven't gone back and checked but I'm quite sure that, though Pleasure and Blossom Dearie got the hit recording, it was actually Eddie Jefferson's lyric.

During July, the British Film Institute in London is running a retrospective of the Japanese director, Mikio Naruse. The film they're highlighting above all the others is "When A Women Ascends the Stairs." As I watched that film last night, during many interludes I could have sworn I was hearing Bags and John Lewis. Shades of "Odds Against Tomorrow." The music credit goes to Toshiro Mayuzumi, who, according to various sites was a classical composer but who was also involved in many film scores. I haven't seen anything on the Web that notes, what to me has to be, the strong influence of the score of "Odds Against Tomorrow" on this film's soundtrack. Anyone know of any discussion of this topic anywhere?

Bourbon Street Parade Thanks very much Chas.

Not strictly a query on discography, but I don't know where else to ask this. What's the title of the tune with a lyric having the first line: "Let's drive down, or fly down, to New Orleans," ?

I've got the Bainbridge LP reissue of the _Sonny Clark Trio_ album on Time, and the piece titled "Sonny's Crip" on that album is _not_ the piece titled "Sonny's Crip" on the Benny Green Time album (that I also have the Bainbridge reissue of), nor "Sonny's Crib" (Blue Note). Those last two are the same: very hard-boppish 44 bars blues-with-a-bridge structure. In contrast, the "Sonny's Crip" on the Bainbridge LP reissue of the Time LP is accurately described by the liner notes of one Pete Spargo: "a bright dance-like swinger," similar to "Junka" and "Sonia" on that album. I've recently discovered that a number of Sonny's pieces on Blue Note were also done on the two Time LPs but mistitled. I'm wondering if the piece labeled "Sonny's Crip" on the Sonny Clark Trio album on Time is also actually a piece Sonny had recorded earlier under another name.

Thanks to rostasi for taking the trouble to upload that piece I asked about...and especially to MartyJazz for sharing the information about the full video. On the version that's included on Greatest Jazz Films Ever, after "Darn That Dream" the screen goes black for an instant before the trio comes back with the piece I asked about. So after I read MartyJazz's post I thought, "yeah, they eliminated 'Excerpt from the Blues' and came back with 'Jim Loves Sue.'" But when I listened to "Jim Loves Sue" from Count 'Em, I was disappointed that it was not the piece on the DVD that rostasi and I have. But I started looking at other Jamal albums and found one, Happy Moods, that I bought during a period, years ago, when I was buying LPs in quantities that I couldn't possibly keep up with. I don't think I had ever listened to that LP. I stopped short when I noticed that it has a track, "Excerpt from the Blues." I listened and voila, that is the piece they do on the DVD rostasi and I have. I'm delighted to have had that piece identified. I still feel that it has no blues changes, and that it makes me think of the A part of "Sweet and Lovely." And since rostasi went to the trouble to upload the version they do on the DVD, it's up there for anyone to listen to and see if they agree with me.

This afternoon I was watching more carefully the Ahmad Jamal segment from the DVD that came out last year, The Greatest Jazz Films Ever. Evidently this segment was from a TV program called "Jazz From Studio 61." The first piece of the Jamal segment is "Darn that Dream." The producers of the DVD obviously didn't know the title of the second piece. For lack of anything else to call it, they called it "Ahmad's Blues." But it's obviously not the "Ahmad's Blues" that we know best from Workin' With the Miles Davis Quintet. In fact, it's not a blues. Now it was a real revelation some years ago when I discovered on one of Dakota Staton's LPs a 32 bar, AABA tune called "Night Mist." I had always thought to myself that--whether 8 bars or 12 bars--Jamal's "Night Mist Blues" didn't sound like a blues, and when I discovered Staton's recording I realized he had taken the A part of "Night Mist," turned it into a self-contained piece, and called it "Night Mist Blues." With this second piece that he played on that television program it kind of sounds to me like he took the A part of "Sweet and Lovely" and did the same thing. Not as sure though about that as I am about what's going on in "Night Mist Blues." Anyway, is anyone who has this DVD otherwise familiar with this piece and know what the real title is? Or is there some Jamal discographical source that has it?

And the above post also led me to look in Google for material on the two MGM LPs. At a Lalo Schifrin discography I was very interested to see that _Desafinado_ includes "I Wish You Love" because when I got the Strand LP, Thomas's voice reminded me of Gloria Lynn's hit (c. 1965) on that number. It still does, but I don't disagree with Chas when he mentions a touch of Nina. Of the two MGM dates , this one is currently available on Japanese CD : It has been available through Dusty Groove . Thomas' Strand date has also seen reissue on Japanese CD and is currently available from Fresh Sound . Lord gives the recording date for Thomas' Strand date as '59-60' . However it was not until June 7th , 1962 that it got reviewed in Downbeat . In giving the album four stars John A. Tynan had this to say , " Miss Thomas is a 21 year-old Chicagoan who makes her singing debut with this winning set of good songs well sung . She is as much a " jazz singer " as are many of her contemporaries who lay claim to the classification without nearly so much to offer as Miss Thomas . Her voice is warm and true with the perhaps inevitable overlay of Sarah Vaughan influence . Although Mort Goode writes in the liner notes that her favorite female singer is Ella Fitzgerald , any vocal similarity thereto is not in evidence here . But Miss Thomas has style and imagination , and that adds up to much promise for a career as a singer . It is too bad that the sidemen are unidentified , for their performances on the various tracks are uniformly good . The different instruments are featured in the variety of songs offered--there is good trombone on Sometimes I'm Happy and It Could Happen , better-than-average piano on Mean to Me , a swinging vibes solo on Being in Love , some excellent guitar on Another You and Only Love , and some commendable flute solo work on Blue Room . Miss Thomas' weaknesses are evident in two songs , the very brief Stella--one chorus with vibes background--and the customary racing-tempoed Strike Up the Band . On the former , she takes off into exaggerated jazz phrasing , and one is left with the feeling that she should have taken the song at its own superbly melodic face value ; as for Strike , the impresssion persists that the tempo proved too awkward for the singer , and she seems glad to get it over with . " Chas, I had left for Florida when you posted this and I'm just seeing it. Thanks very much. I'll print it and put it with my copy of the LP.

Well, this post piqued my interest. I think the reason I knew about Pat Thomas and was motivated to participate in an auction maybe 15-20 years ago to get the Strand LP was that I had a memory, c. 1965, of Daddy-o playing her version of "I'm in the Mood for Love," though at this point I can't remember if she sang it straight or if she used the Eddie Jefferson lyric. And the above post also led me to look in Google for material on the two MGM LPs. At a Lalo Schifrin discography I was very interested to see that _Desafinado_ includes "I Wish You Love" because when I got the Strand LP, Thomas's voice reminded me of Gloria Lynn's hit (c. 1965) on that number. It still does, but I don't disagree with Chas when he mentions a touch of Nina.

[snipping much of my reply to Chas Secondly, the trumpet appears on only one of the album's tracks (along with Curtis's second appearance on the record), "Sometimes I'm Happy." I'm afraid I haven't listened to enough Booker to make a strong judgment as to whether it's he on that track. The trumpet player's opening and closing obligato make me think of some other track somewhere but I'm afraid I can't put my finger, err ear, on it. I thought it was an obscure Donald Byrd track but I've just listened to that and Byrd does not engage in those kind of opening and closing obligatos on that particular track. Maybe I _am_ thinking of some track by Booker. Chas sent me a personal reply asking if I could put up an mp3 of "Sometimes I'm Happy." So I've given it a try. I have to tell you that process is still something of a mystery to me--especially creating m3u's which I didn't bother with in this case. I'm also dealing with much less than state-of-the-art equipment and for reasons that are beyond my abilities to understand, the trumpet player sounds much more undermiked in the mp3 than he does on the LP (although there's a slight effect even there). So when the trumpet solo ends and the vocal begins you'll probably have to turn down the volume. Sorry 'bout that. Anyway, the mp3 I created is at http://www.msu.edu/~ladenso1/Booker.html (Click the hypertext, of course, on that page). Let me know if it doesn't work for you. And if it does, do you think it's Booker?

His solo on "Little Rootie Tootie" from the Monk at Town Hall concert is going through my head as I read through these posts.

I feel the same way--interesting how this veteran from the Bird era and Joe Henderson found themselves to be such kindred musical souls. I would add that I rarely fail to identify him when I turn on the radio and he's soloing. This is in contrast to a recent query on the Discography forum asking if an uncredited trumpeter on a rare record is Booker Little. I have that record but I couldn't go beyond a statement that that trumpet player well might be Booker. I'm very confident that if KD were uncredited on a record I'd be able positively to identify him after hearing half a chorus or less.

I registered for this forum specifically to send an e-mail query to Chas asking if he or K Washington had any other info about the players on this LP, which I own. He replied that he's not in touch with Kenny. But when I got out my copy I discovered some almost 8 year-old e-mail correspondence. On the jazz-lovers e-mail list, the very Alan Saul Chas mentions had forwarded a post he'd received from a Japanese critic saying that Kenny Washington had told him about this LP and suggested that the players included Booker, Curtis Fuller, Tommy Flanagan, and Charlie Persip. That February '99 post to the jazz-lovers list had motivated me to get out the record and (I had totally forgotten about this) take some notes on what I heard. First of all, K Washington is almost undoubtedly correct about the presence of Curtis. His opening strains on the album's first track, "It Could Happen to You," evoke "Arabia." Secondly, the trumpet appears on only one of the album's tracks (along with Curtis's second appearance on the record), "Sometimes I'm Happy." I'm afraid I haven't listened to enough Booker to make a strong judgment as to whether it's he on that track. The trumpet player's opening and closing obligato make me think of some other track somewhere but I'm afraid I can't put my finger, err ear, on it. I thought it was an obscure Donald Byrd track but I've just listened to that and Byrd does not engage in those kind of opening and closing obligatos on that particular track. Maybe I _am_ thinking of some track by Booker. The liner notes to that album are very frustrating: "Look at the run-down of the material. The soloists are listed with each tune." In actual fact, of course, not one player is named. But I'm very confident it's Curtis on those two tracks.