Quasimado

*Heart* is certainly beautiful Bud... it would have been nice if he'd played more choruses - Bud at his best can have a lot to say. In fact most of the tunes on this disc (Autumn) are just 3-4 minutes long, which is a little weird seeing it was a live gig ... when Bud is playing well, the more the better. Q

Just listened to the Summer Sessions. To my ears Bud's best playing on this occurs with Bird - on both *Moose* and *Cheryl* Bird is playing to kill and Bud responds in kind, his playing on *Cheryl* being especially lucid and rhythmic. IMO the greatest Bud on disc is the Bird/ Bud/ Fats from the 1950 Birdland broadcast(s), where Bud reaches incredible heights, no doubt inspired by the greatness of his colleagues (although that ((their musical greatness)) was often a problem for him, too)... Q

Thanks for reminding me of that LP, Larry. It's one I lost along the way - fortunately I was able to pick one up through the mail from Jazz Record Mart last week! It's essential listening for anyone interested in Lee's early work. His playing on "All the Things" from the jam session after the concert is enthralling, and you have already mentioned his out-of-body playing on the Kenton track (his playing on the Paris and Munich concerts approximates that)... It seems amazing, but as far as I can tell, this Dragon "Sax of a Kind" LP does not appear to have been re-issued on CD, a situation one hopes will be rectified before too long. A Kenton- Konitz collection would be nice, too - in the Hamilton book Lee mentions receiving as a gift 2 CDs somebody put together of his playing taken from the Kenton band's weekly radio shows - there is a LOT of material out there (airshots, concerts) from one of his most creative periods ... Q

SIDEMAN the autobiography of Billy Bauer (WH Bauer Inc) from 1997 would seem to be close to what you (Brownie) were looking for ... some really nice remembrances, observations and photos of BB with Herman, LT, Konitz, Bird etc. example with Bird: BB: Charlie, while I have you alone I wanted to ask you ... every time in Birdland you'd come in this Cadillac. You just get out and little Pee Wee Marquet would park it. How did it feel to be in that Cadillac? CP: Well, BB Here's what it is. I go out of the house, get in the car, go to Birdland, get out of the car... Q

Absolutely some of the very best Fats and Eager! Q

I can imagine - many of the critics of the time were deaf - others carried imaginary baggage ... the music speaks for itself. Q

Schildkraut has 2 solos in the second half of both the Munich and Paris concerts... but certainly he is not featured like Konitz is. Q

Now that's a reed section I would like to hear, are these recordings easy to find? Currently available through Worlds Records. Q

Somebody else mentioned the Kenton Band Live in Munich 1953, recorded September 16, and which was followed by the Paris concert on September 18. These 2 double CDs (Munich - Sounds of Yester Year, and Paris - Jasmine), display, to my mind, the best band Kenton ever had, and include incredible Lee and probably the best Zoot with big band you will ever hear -can you imagine a saxophone section of Lee Konitz, Davy Schildkraut, Zoot Sims and Bill Holman? (Tony Ferina is on baritone)... The drummer is Stan Levy, and program is a well put together selection of classic Kenton/ Rugolo with the more linear arrangements of Mulligan, Holman and Rogers. Konitz successfully adapted his unique conception to the big band format – meaning he was playing just as brilliantly, but harder than he had ever played... There is not much of this period of Lee on disc - its up there with the best of Bird, Lester and Warne Marsh. (The recorded sound, for those who care, is not too bad). Q.

No matter what, it's a treasure. It has been issued on CD, with alternate takes. Mine was issued by BMG, and has the following: -5 takes of I'll Remember April -3 takes of All the Things You Are -2 takes of These Foolish Things -1 take of You'd Be So Nice It also has 4 tracks of Bob Brookmeyer with Renaud, Gourley, Red Mitchell & Frank Isola from 1954. As you say, this is some of the very finest Konitz. Q

Anybody seen this new film? Funny man, and he can play. Q

Try circular breathing - it seems to work in similar situations ... Q

Ziggy Vines. Q

Yeah ... he wants more bread. Q

Is this where it is? Q

Some great music mentioned here ... Been listening to the Mosaic Dean Benedetti Bird CDs recently. Standouts for me at the moment are *Sweet Geogia Brown*, No. 19 on disc 1 - that pure, inventive, swinging/ driving *Lady be Good* feeling... and *All the Things You Are*, no. 13 on disc 5, where Bird's reinventions after Kenny Hagood's vocal are simply unbelievable ... Not to forget *Lester leaps In* and *My Little Suede Shoes* from the Rockland Palace session ... Q

Been listening to the Dean Benedetti Bird CDs this week. Standouts for me at the moment are *Sweet Geogia Brown*, No. 19 on disc 1 - that pure, inventive, swinging/ driving *Lady be Good* feeling... and *All the Things You Are*, no. 13 on disc 5, where Bird's unbelievable reinventions after Kenny Hagood's vocal send shivers down the spine ... Q

... and the LP *Bird Is Free* is incredible ... unbelievable saxophone playing (Lester Leaps In - My Little Suede Shoes etc.) ... Davey was in school for that, too... Q

Interesting article. No doubt Lennie's widely reported mouth (rather than actions) caused many of his problems. I presume the divisions are still there ... Q

Phil gives us Bird 5 days a week - and he loves and knows what he is talking about. Can't ask for more than that... It's the most amazing show on radio. Q

Great news - many thanks. Q

I've checked but can't seem to locate this. Would anyone know if it was released? Q

... or to feed their obsessions. Q

Niko - that's remarkable! Jack Chambers has this to say (from his article): "As for integrity,some of the toughest minds among Zieff’s contemporaries wilted and ended up pandering to pop tastes, most notably Miles Davis but also Donald Byrd, Freddie Hubbard, Herbie Hancock and numerous others, even Gil Evans. Zieff escaped all that, and the price he paid, though he may not consider it a price at all, was to live a quiet, scholarly life, feeling the affection of his students and the admiration of the part-timers —doctors, salesmen, and mostly (like him) teachers — he recruited to play his uncompromising music." Chamber's Twardzik book seems almost as obscure as Zieff. Q