Quasimado

It's available on B&N's site for 21.65. Q

OK – I’ve listened a few times, and now I like it – to the point I’d like to hear more of what the band could do. I guess I sounded off, and I should have waited – after all it took me 50 years to hear Ayler. So, who is it for? Me, of course … Q

C'mon Larry: "(not) alien to the ears of, say, an admirer of Mingus' music or Roswell Rudd's '60s work on Impulse" is hardly a recommendation. The questions are (1) Who is this for? Allen knows Bird, Lee, Schildkraut etc.were playing real shit in the 50's - and then there was Ayler in the '60s ("Billie's Bounce" etc.) - so it's hardly for fans of your man KG - so who is it for? (2) Why is it the best thing he has done? Well, Allen said that - I have heard some other things from Allen that seemed more interesting ... sorry ...I'm not particularly knocking the excerpt, but it's hardly exciting, more a reflection of the dilemma many musicians find themselves in - feeling they have to keep ahead, even to the point of glorifying the primitiveness of the past. Q

Who is this for, Allen? I know you are a smart cat - I love Lester, Bird, Haig, Schildkraut, Lee etc. as you do - but serious questions remain. Q

A swinger - book ordered. Q

You'll find most of what you want here: http://tokyojazzsite.com/ Q

Sorry, who is Eton boy? Q

Bit hard to hear the group behind Shorty P. - Brookmeyer is certainly there. Ted Gioia says it's the Stan Getz band of the time with Bob playing "Have You Met Miss Jones". Q

Exactly. Nicely put. Q

Dan Gould said re Wooleys "Free Will, Free Won't" - There is not enough Excedrin in the world to make this "music" palatable to me. In fact I find it astounding that anyone could think of this as anything other than noise. Agree 100%. You can see why Wynton is there ... and Barry Harris continues to fight the good fight ... Q

Larry, can we have your expertise, again (and again) ... Q

There is some fine Raney to be heard on the Home page and in the Music section of this site. Q

Good luck with this - you deserve it based on the research/ interest level of your various West Coast sites. Q

Take care, Brownie. Q

Just ordered Pasadena Concert. Thanks and RIP. Q

That is just beautiful Lester! And he sings! JazzArcheology. Com. has personnel and details: LEE AND LESTER YOUNG'S BAND “A Little Bit South Of North Carolina” Prob. Hollywood, Feb ~July 1942 (Acetate probably made by a fan in a club, probably Club Capri). "Red" Mack Morris (tp, vo), Bumps Myers, Lester Young (ts, vo), Jimmy Rowles (p), Louis Gonzales (g), Red Callender (b), Lee Young (dm, vo). That Lester sang has been confirmed by Lee Young. lp, thanks for posting that! Q

Gone again - (under the revised board it was "Latest Posts" or something similar) .... Q

James Harrod covers those here: http://pacificjazz.blogspot.jp/2012/04/this-initial-post-covers-all-of-78-rpm.html Q

Dumb, dumb thread Larry - low point reached with JSngry's public masturbation habits. Q

Oscar Peterson Q

Ronnie Ball Q

Interesting as usual. I did not realize Durium was no longer with us ... a very informative site. Many thanks. Q

lp - thanks for that. I checked out Phil Schaap's Birdflight archives and heard the full session. Bird is in full flight (so is Phil - 35 minutes before any music - I like him but there's a limit ...). Still, the music is there. For anyone interested its 'Birdflight (4/21/2014) - Bird Quintet's studio dates with Norman Granz'. All the alternates should be released. Q

"The Complete Charlie Parker on Verve" is supposed to include all recordings & alternates Bird made for the label - but as can be seen from the above, that is certainly not the case. Another case in point is the Diverse/ Segment session from 5/5/1949. On Disc 2 there is one take of "Segment" and one of "Diverse" (which are, in fact, the same tune!). However, on the Half Speed Jazz site (http://halfspeedjazz.blogspot.jp/p/about.html), there is a further alternate labeled "Diverse" with an absolutely amazing Bird solo. Losin’s discography has the following concerning this session, and as can be seen there are 2 full takes of each of “Segment” and “Diverse” (same tune): May 5, 1949 (19 items; TT = 32:39) Unknown recording studio, New York NY Commercial for Mercury Charlie Parker and His Orchestra Charlie Parker (as); Kenny Dorham (tpt); Al Haig (p); Tommy Potter (b); Max Roach (d) 1 Segment (take 1 (inc)) [Tune X] (C. Parker) 0:43 2 Segment (take 2 (inc)) [Tune X] (C. Parker) 0:43 3 Segment (take 3 (fs)) [Tune X] (C. Parker) 0:25 4 Segment (take 4) [Tune X] (C. Parker) 3:19 5 Segment (take 5 (fs)) [Tune X] (C. Parker) 0:29 6 Segment (take 6 (inc)) [Tune X] (C. Parker) 0:46 7 Diverse (take 7) [Tune X] (C. Parker) 3:19 8 Segment (unknown take) [Tune X] (C. Parker) 3:18 9 Diverse (alternate take) [Tune X] (C. Parker) 3:15 The “Half Speed Jazz” track (“Diverse”) obviously comes from this session, but was not included on the Verve set. Does anybody know about this take – was it ever released anywhere on Clef/ Verve? If not, where did the “Half Speed Jazz” people get it? Also, what happened to the remaining track? Q

Very fine player. Seems that he never had his own recording session. Unbelievable! Interesting company he used to keep, according to his discography ... Q