Quasimado

👍👍👍 Getz's 'Talk of the Town' solo is one of the greatest tenor solos I have heard, and I'm not even a Getz fan ... Diz great, of course.

Re #3, while the pianist sounds like Tristano, I think it unlikely to be him - the solos, although similar in style, seem to display a slight lack of surety/ confidence that Tristano never did - listen to his (LT) solos on the Capitol session, recorded in January 1949, for example. The pianist is probably one of his students of the time (late 40's early 50's), such as Lloyd Lifton or Sal Mosca. The same reasoning could be applied to the tenor, although I have no idea who else of the school apart from Marsh it could be. The trumpet could be early Don Ferrara - he was studying with LT from about 1947...

#3 shows a strong Tristano influence - the pianist sounds like Lennie and the tenor like Warne. Somebody should ask Lennie Popkin about this ... If it is a Tristano group, the trumpet could be Don Ferrara - I have never heard any early Ferrara, and this cat sounds early (but he's trying to say something) ... The tunes lack something - there were some European groups in the early 50's that sounded like this - but I doubt they recorded at Van Gelders...

Beautiful - thanks for that.

Nice band: The European tenor player (Povel) is news to me - anybody familiar with his work?

You can read James Harrod's sad story of Bud at The Haig here: https://jazzresearch.com/the-haig-part-three/ It is given further coverage in Peter Pullman's excellent "Wail: The Life of Bud Powell" from page 205~

Some incredible Lee here. Did this ever come out on CD?

The site is here: https://ethaniverson.com/interview-with-wayne-shorter/

Just reading an old ‘Do the Math’ interview Ethan Iverson did with Wayne Shorter (2015). Wayne talks briefly about appreciating the Tristano people (among others), and Ethan has added a brief excerpt from an unreleased session of Wayne soloing with the Johnny Eaton group (1956), playing “What is this Thing Called Love”. I had heard talk of Warne being an influence on Wayne, and never paid it any special heed, but here it sounds as if Wayne is almost channeling Warne in his solo, even including quotes from the melody of Lee’s “Subconscious Lee” (same changes). Wayne was obviously very familiar with the music of the Tristano people, and of Warne in particular. You can listen to the excerpt - it's about halfway through the interview – a fine solo …

Hi Erlinda, Merry Christmas to you and yours. He was a fine musician with a very individual style. It's too bad he isn't better known - but there's quite a few tracks out there on Youtube ...

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It sounds like you are referring to the 20 minute broadcast of a jam on "Lover Come Back to Me" from Cafe Society in 1950, with Bird, Tony Scott, Brew Moore, Dick Hyman, Ed Shaughnessy and others. Tony's playing is long and generally excruciating. Bird is superb - relaxed, imaginative, melodic and swinging over several perfect choruses ... IMO one of his greatest (and longest) solos on tape.

Interesting about Joe's work with Bird in that 1946 recording. His playing is certainly unsure, especially when compared to the great sides he made with Lester in the same year (You're Driving me Crazy etc.). No doubt he had erratic periods throughout his life, presumably related to his drug supply - but when he was on, he was great, as you undoubtedly know ...

For anyone interested, the response by Evans to Crow's review can be found at the following site: https://www.jazzstudiesonline.org/content/jazz-review THE JAZZ REVIEW - VOLUME 2, Number 7, August, 1959 (Letters/ page 3) Evans essentially responds to what he sees as a biased attack on a personal friend, rather than addressing any issues raised by Crow. Important Site!

It would be interesting to know Evans' reply ...

Looks like a great job - many thanks ... Question - How does the Rank Progress work? I joined in 2004 and have just been promoted to "Newbie" (with 3 badges) ! How long before I become a "Grand Master"?

#4 Serves me right - I couldn't hear it, and my French stinks - It's Soft Shoe from the Mulligan Quartet at La Pleyel 1954.

#4 Tune would have to be "Walkin' Shoes", thanks to the hint and my high school French ...

The rhythm on that piece seems unusual (to my ears) - what would you call that?

Any details?

Many thanks - powerful music - missed it first time round ....

#4 Brookmeyer is there in the mix (with Mulligan) ... can't quite get the tune ...

At the local level many Shinto shrines incorporate elements of Gagaku into their traditional ceremonies, festival dances and processions, so I have heard these … accompanied by a little sake . Court Gagaku (similar to your selection (?)) is rather rarified and performed in Shinto ceremonies related to the Imperial Family. There are orchestras in the big cities that occasionally give public performances. Some of the larger Buddhist temples also have Gagaku groups which accompany Sutra chanting on special occasions. I’m in the countryside – you’ve wetted my appetite …