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Posted

Other than the 2 Criss Cross LPs, and the Ronnie Ball LP on Savoy and the Konitz date, and I know I'm missing something....Yeah!, The Konitz/Giuffre Atlantic LP...What am I missing? I may have something else, just can't look right now. HELP me out!!!

Posted

Mr. Nessa,

Yeah, I have the free wheelin' LP. What is the steeplechase?

Sorry, I'm a youngster, not all the there yet....

Thanks....

Marcello,

I have that LP, S'great!!.

Always looking for Ted Brown!

What's he doing now? Is he alive?

-------HB

Posted

I like of "Dig It" -- Lee and Ted are in fine form, though I can see that some might find aspects of Ron McClure and Jeff Williams's playing a bit intrusive (the former's lines tend to wander into the soloists' register; the latter favors a stop and start time feel). I don't have "Sound of Surprise" and should track it down.

Posted

I think one of the greatest jazz ensembles of all time was the Warne/Ted Brown Quintet. Freewhellin', vanguard records, Jazz of Two Cities, Kapp record- you guys know those? two of the best jazz lps ever! I also have a few bootlegs of the band in a LA club in 1956, right around the same time as those lps dates. those are even better than the studio dates

I'd agree with that assessment. Pity someone doen't release those other club dates. Rumor has it that Peter Ind has the originals or others from that period ...

Q

Posted

Jazz of Two Cities was on a Blue Note or Capitol CD a few years ago, paired with the famous Tristano date with those two freely improvised tunes. Great CD.

"Sound of Surprise" is pretty good as well. "Freewheelin'" is in stores here, I think as a Freshsound digipack (does Lonehill do digipacks as well? Funny how those cheapo labels slowly start looking glossy... and annying that them swiss stores think those cheapo discs are worth 20$ or more!)

Posted

Jazz of Two Cities was on a Blue Note or Capitol CD a few years ago, paired with the famous Tristano date Funny how those cheapo labels slowly start looking glossy... and annying that them swiss stores think those cheapo discs are worth 20$ or more!)

I noticed this too. There is a gap in the market left by the majors and copyright owners and these labels find they can increase their price.

Posted

Well, over here they always were expensive - even the crappiest early Freshsound discs (for instance "Charlie Mariano Plays" or "Stu Williamson Plays") with photocopied partial liner notes without credits and similar hack-jobs cost 25$ over here, unless you were lucky enough to find them in some bins. Plus, they always look like used CDs, even if they're new...

Posted

Free Wheeling was released on CD in Japan some years ago (1994, on King). I found a nice used copy for $8. Didn't know what to make of the cover, at first, but then I checked the personnel. It was my intro to Brown. Since then I've picked up whatever I could find of his.

Posted

Just dug out my CD of 'Jazz of Two Cities' 2xCDs, on Fresh Sound. It has the 'previously unissued' Warne Marsh session, featuring Ted Brown, from "The Stars of Jazz" TV show, on March 11th, 1957, ABC Studios, Hollywood. Swell!!

I know it aint vinyl.....

---HB

Posted

Chewy,

I won't 'flame you for it', but that statement is riiculous at best. Think about what you said.

It's nonsence of the W. Marsalis/S.Crouch caliber.

We've seen the ultimately absurd'Homosexual" talk about Sun Ra and Cecil Taylor (I could name a bunch more 'gay' Jazz players), it means nothing!! White/Black, Straight/Gay, Does any of this crap have to do with the music!?! No, I think. This is a devisive point for many, but, IMHO, It need not be. Selah.

Peace for All.

---HB

Posted

If you're white, play jazz, and didn't come up in a hermetic environment, sooner or later you have to come to terms with the intersection of "identity" & "integrity". If you don't, you're a fool and/or a crook. Plenty of both yesterday, today, and tomorrow.

Chewy's statement might have been simplistically stated, but the idea behind it is not without merit. Far from it.

Posted

If you're white, play jazz, and didn't come up in a hermetic environment, sooner or later you have to come to terms with the intersection of "identity" & "integrity". If you don't, you're a fool and/or a crook. Plenty of both yesterday, today, and tomorrow.

Chewy's statement might have been simplistically stated, but the idea behind it is not without merit. Far from it.

I understand what you're saying; but at this time, in this century, it cuts both ways. White and Black.

Posted (edited)

Indeed it does. I really don't see how too many players under the age of, say, 35 or so can claim "authenticity" to "the tradition" in any truly deep way other than love from afar. The river has broken off into so many streams now that the water's flooded everybody's yard to some extent. But the closer to that "tradition" you choose to stay, the more you gotta ask yourself just what that tradition entails, and not just on a superficial "swinging, blues-based" level either. There's so much more to it than that...

And coming to terms with it doesn't necessarily mean you change the way you play. But you still need to come to terms with it. Superficiality is the order of the day, and has been for quite a while now, but that doesn't alter the fact that if you "claim" something for yourself (again, no matter what race you are), you better have a damn good understanding of what it is you're claiming, or else drop the "claim" and admit to being a student. Nothing wrong with being a student. Nothing at all...

From what I've read, Warne was very conscious that he was playing "black music" in a "non-black" way. Or "white music" in a "black way". Whatever combo works. But the point is that he confronted identity & integrity head on, and his music has a power that the music of few white musicians of his time did. There's a reason for that, and genius is only a part of it. Genius in the service of bullshit will just get you some high-grade bullshit.

We are living in a world today where barriers are breaking down, and concepts of identity are organically changing as a result. I'm all for that, believe me. But I'm seeing it mostly in the young people, not too many of whom give a rat's ass about "traditional" jazz ) as anything other than one of many "roots", if they care about it at all (and frankly, I can understand why they don't. Now more than ever.). So anybody under a certain approximate age who talks about the "tradition" these days in terms of a manifesto or some such is guilty in my eyes until proven innocent. Such a somebody is going to have to prove to me that they ain't either denying or theiving. Or both.

And - white folk of most all ages still got a funny little habit of thinking that everything is cool with them when it ain't. The classics, it seems, never go out of style.

Edited by JSngry
Posted

You're welcome.

I guess all I'm really saying is that, no, it doesn't matter. Not in the end. But there's a huge difference between realizing that to be so and assuming that to be so.

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