Quasimado

Interesting read. http://langtech.dickinson.edu/Sirena/Issue2/Chambers.pdf Q

Lennie Tristano was pretty effusive about Freddie's playing through to the mid 60s. A quote from Shim's Tristano book, " ...It's about in '59 when Freddie started to record. Oh, I would say for six or seven years he played a lot of great music ... I like to say that Freddie Hubbard, in my opinion, is one of the great musicians to come out of the 60s. Absolutely. And of all the people who've been out there making it, in my opinion, he is the greatest. And I'm not speaking about Freddie in the last seven or eight years..." The only thing I have him of him is on Kenny Drew's "Undercurrent" with Mobley, and he plays fluent, swinging jazz trumpet, although I would have liked to hear him on harmonically richer, more varied material. I heard him live in Honolulu in the mid 80s with a band led by altoist Gabe Baltazar, and he played great ... although towards the end of the night he began to obviously ride Gabe, a local favorite, who was playing pretty well. That kind of put a chill on proceedings ... but he could play, no mistake. Q

Great site! Q

That's pretty harsh. Unfortunately, for some reason the saxes (certainly Marsh) don't solo on the studio recordings. However live, this was a hell of a band, a bunch of fine musicians who loved, understood and could play Bird's music ... which is real "musicians" music, a joy and a challenge to play... that's why they did it. Live they would do the heads and Birds solos, and then the featured saxes would solo, usually for at least two choruses, often more. As most admirers of Marsh's music know, there are lots of tapes out there of Warne with this band that are unbelievable. Q

As good as jazz-with-strings gets. Make of that what you will. Sorry, don't agree. Some of the string writing is nice ... and Art plays reasonably well... but then you also have 2 beat on some tracks ... and Art was never in Bird's league. Q

Maybe "deadly" was a bit harsh. I know we have Warne Marsh in common. It seems a long way from there to here ... I realize he's now in the past, but that kind of aesthetic value (from out of the tradition) doesn't come easily or often, nor is it easy to shrug off. Anyway, I'll try to catch her next time she's in town ... gotta get out of the wax. Q

Sorry, but I don't just see the interest here. I'd give the tenor credit for doing his best on a deadly background. What is the attraction here - the vocal, the message? Q

They're after Ella, too ... Q

Finally tracked down the Dizzy Orchestra at Chester, Penn., 6/57, on the Jazz Unlimited label. This contains 3 solos by Henry. The longest, *Dizzy's Business*, is a potent, stark reminder of his talent and originality. Great Diz, great band, great soloists including Lee Morgan, Billy Mitchell, Benny Golson etc. Q

It was part of a series of 20 lesser known Atlantics, put together by 2 identities on the Japanese Jazz scene. Release of the series was originally planned for November, then put off till January. Now the Warner Music Japan site says release has been postponed. I can't imagine it will just disappear, as it had some publicity, and the compilers are well known ... Q

How about the reviewers who gave these disasters the thumbs-up? There's a whole bunch of them quoted on his page. It'd be funny if it wasn't so sad ... Q

You're a bundle of laughs as it is, Allen. Q

It was decided that Scott was not welcome. Q Any idea why not? I like his work. Some members obviously don't. He had the sheet kicked out of him. Q

It was decided that Scott was not welcome. Q

Couldn't agree more ... I STILL remember when I first heard it, well over 40 years ago now... like hearing the Voice of the Cosmos ... (may have had a little something at the time) ... Q

Q

While you're at it, don't overlook Jazz at the Concertgebouw, The Complete 1955 Concerts in Holland, put out in the Dutch Jazz Archive Series, which has the quartet with Twardzik, just before you know what... Imo, some of the finest early Chet on disc ... (just one CD, and a very fine production). Q

There is more excellent Henry with Navarro on Savoy in 1947. It seems to me that his style was essentially fully formed, even at that time. The sound comes from Bird, but his rhythmic- linear conception is all his own. His line on *Tadd Walk* is a good example - expressive, swinging, he is able to somehow manipulate his horn to play it exactly as he conceives it, in all its quirkiness ... quirky to the point that at times it seems about to go off the rails ... Apparently he was part of Monk's working quartet in 1956, which would have been worth hearing ... While very different in conception, there appear to me to be some surface similarities to Ornette in his playing, a point I think I remember Larry also making at some time... Q

Check Dusty Groove... Recent releases are in fact re-releases of early King Records sides (50s/ 60s) featuring drummer Hideo Shiraki & group (5 CDs) and vocalist Chiemi Eri (3 CDs). Q

Been there ... takes a while. But ... amazingly, New, Better things happen ... Q

Just listened to *Sonny Stitt Sits in with the OP Trio*. That's a hell of a level of musicianship! Thanks SS, OP. Q

It sure sounds fine to me. I remember being a little startled when I heard his *Fable of Mable* on Storyville (1954) for the first time - Serge's sudden surges(!) of volume and wide vibrato, together with Twardzik's kind of spooky comping on the title track took a little getting used to. Blue Serge is much more a (classic) bebop session. He was certainly his own man! Q

He's all over the horn - has complete control. Do you mean he's playing out of tune? Not to my ears, although his vibrato is wide at times... No offence, but if Ornette or (early) Archie is your standard, we may hear things differently ... Q Thanks for your response. I shall have to consider the wide vibrato issue. As to my standard, I guess you could say Bird/Lester/Marsh/Wardell/Fats/Bud/Tristano, etc. Q

He's all over the horn - has complete control. Do you mean he's playing out of tune? Not to my ears, although his vibrato is wide at times... No offence, but if Ornette or (early) Archie is your standard, we may hear things differently ... Q

Make sure you get it right (from your kids or whoever)... we're desperate not to be Beards! Q