JSngry Posted February 22, 2008 Report Posted February 22, 2008 Ok, I got the fresh Sounds CD A Day In New York, have found a Carlton LP of some of it, just found a Perfect (label - a subsidiary of Epic, & how low down the food chain is a subsidiary of a subsidiary anyhow?) of some more of it, but the question remains - how the hell did this marathon session come about? Was it all on spec? Some of it? Who produced it? I mean, there's a lot of fine playing going on here, and it's just like Scott hired a band, a studio, and let it roll, with no mind as to who got the results except that somebody would somewhere, sometime. Pretty cool, but I'd like to know the story anyway (as well as how it all came out originally). As always, thanks in advance! Quote
JohnS Posted February 23, 2008 Report Posted February 23, 2008 Whatever the story it's a super listen. Should be much better known. Quote
Stereojack Posted February 23, 2008 Report Posted February 23, 2008 Scott produced this marathon session and sold portions of it to Carlton, Seeco, Perfect (CBS). The CD gathers together all of the material which was spread over three LP's and a couple of compilations. I suspect Scott may have retained ownership, because the Fresh Sounds CD seems to be from master tapes, probably obtained from Scott himself. Quote
JSngry Posted February 23, 2008 Author Report Posted February 23, 2008 So Scott did the self-produced thing himself with this, eh: Interesting. Quote
medjuck Posted February 23, 2008 Report Posted February 23, 2008 Can you give more information please. I've got a Scott cd on Giants of Jazz that's titled Tony Scott and Bill Evans 1957 but doesn't give a more specific date. Has 12 cuts. I think it's from a couple of sessions since Henry Grimes replaces Milt Hinton on some cuts. Quote
jazztrain Posted February 23, 2008 Report Posted February 23, 2008 The session is from November 16, 1957. Some information regarding this session is available at Tony Scott's website: http://www.tonyscott.it/day_in_ny.htm How, by the way, do I make this a link? Can you give more information please. I've got a Scott cd on Giants of Jazz that's titled Tony Scott and Bill Evans 1957 but doesn't give a more specific date. Has 12 cuts. I think it's from a couple of sessions since Henry Grimes replaces Milt Hinton on some cuts. Quote
medjuck Posted February 23, 2008 Report Posted February 23, 2008 (edited) Thanks. My cd is from the same session and seems to have 1/2 the cuts. Edited February 23, 2008 by medjuck Quote
Joe Posted February 24, 2008 Report Posted February 24, 2008 Wasn't the session later issued as SUNG HEROES similarly self-produced? Quote
JPF Posted February 24, 2008 Report Posted February 24, 2008 Scott produced this marathon session and sold portions of it to Carlton, Seeco, Perfect (CBS). The CD gathers together all of the material which was spread over three LP's and a couple of compilations. I suspect Scott may have retained ownership, because the Fresh Sounds CD seems to be from master tapes, probably obtained from Scott himself. Just out of curiosity, is this Fresh Sound version in stereo or mono? Quote
Stereojack Posted February 24, 2008 Report Posted February 24, 2008 Scott produced this marathon session and sold portions of it to Carlton, Seeco, Perfect (CBS). The CD gathers together all of the material which was spread over three LP's and a couple of compilations. I suspect Scott may have retained ownership, because the Fresh Sounds CD seems to be from master tapes, probably obtained from Scott himself. Just out of curiosity, is this Fresh Sound version in stereo or mono? Stereo. Quote
JPF Posted February 25, 2008 Report Posted February 25, 2008 Scott produced this marathon session and sold portions of it to Carlton, Seeco, Perfect (CBS). The CD gathers together all of the material which was spread over three LP's and a couple of compilations. I suspect Scott may have retained ownership, because the Fresh Sounds CD seems to be from master tapes, probably obtained from Scott himself. Just out of curiosity, is this Fresh Sound version in stereo or mono? Stereo. Thank you. Tony always seemed to be able to put together interesting, eclectic groups of sidemen. I remember seeing him one time in the 60's at the Dom in NYC. I forget who was on bass, but he had Jaki Byard on piano and Rashied Ali on drums! Quote
flat5 Posted March 14, 2008 Report Posted March 14, 2008 Tony Scott was known to be a good forward thinking producer/organizer. He was even involved in some pop music hits. Just another one of his talents. Quote
Shawn Posted March 14, 2008 Report Posted March 14, 2008 ...Jaki Byard on piano and Rashied Ali on drums! Holy F*cking Sh*t! I bet that was a trip. Quote
medjuck Posted March 14, 2008 Report Posted March 14, 2008 Tony Scott was known to be a good forward thinking producer/organizer. He was even involved in some pop music hits. Just another one of his talents. Wasn't he Harry Belafonte's music director or something like that at the height of the singer's recoding career? Quote
AllenLowe Posted March 14, 2008 Report Posted March 14, 2008 scott was an interesting guy - even in some early 1950s work, he sounds like he's trying to wriggle outside of the harmony - one of the earliest "outside" players - Quote
Fer Urbina Posted March 15, 2008 Report Posted March 15, 2008 scott was an interesting guy - even in some early 1950s work, he sounds like he's trying to wriggle outside of the harmony - one of the earliest "outside" players - His Aeolian Drinking Song could be one of the earliest modal jazz recordings (?) In any case, it's a tune based on one scale. Scott himself plays with passion (although he seems stuck with the scale) but this set up pushes young Bill Evans to do quite interesting things in his solo. There's also a passage with Evans and Scott playing 4/4 while drums and bass are on 3/4. F Quote
Larry Kart Posted March 15, 2008 Report Posted March 15, 2008 I remember when I was a kid liking a Tony Scott 10-inch "live" Decca LP, recorded at an Army camp IIRC with Philly Joe on drums, but everything that I've heard from him since he moved to RCA in '56 or so has struck me as unlistenable. All he does is twiddle and twiddle -- and pretty much the same damn twiddles regardless of the tune or where he is in it. I guess you could call that wriggling outside the harmony. Also, FWIW there was Bill Crow's "famous" put down of Scott as an egomaniac in a record review in the old Jazz Review (June 1959), which inspired a letter in defense of Scott from Bill Evans. Crow review excerpts: "When he is around it is always a show, and it is always Tony's show, unless a bigger ham upstages him. Tony wants to be a star. He uses every situation as a stepping stone in his energetic scramble not for artistry, but for fame. He is so intent on his goal that he doesn't even realize how badly he uses his associates.... He plays in a tortured, rigid, sensationalistic manner that successfully attracts attention but has little to do with playing music.... His affectations of humility are loaded with egotism.... [H]e falls back constantly on his three favorite devices: five note descending chromatic runs, ear-piercing squeals and glissandos, and hysteric noncommital twittering around the changes...." Then Crow really lets him have it. And you thought it was the critics who are unkind to jazz musicians? Quote
Larry Kart Posted March 15, 2008 Report Posted March 15, 2008 The one with Philly Joe (and Dick Katz and Milt Hinton) was recorded at Mintons in 1953 and is his first date under his own name apparently. The other track I was thinking of was recorded at Fort Monmouth, N.J. in '53, with Sid Bulkin on drums. Quote
AllenLowe Posted March 15, 2008 Report Posted March 15, 2008 funny, but I agree with Crow and Larry, yet have heard some of Scott's playing that went beyond that and that showed, when he wanted to, he could be quite a player - Quote
JSngry Posted March 15, 2008 Author Report Posted March 15, 2008 The Philology sides are a stone trip. Quote
Chuck Nessa Posted March 15, 2008 Report Posted March 15, 2008 To me he always sounded like an adventurous spirit without a reliable compass. Quote
Larry Kart Posted March 15, 2008 Report Posted March 15, 2008 The Philology sides are a stone trip. From his web site, referring to those years: "Often he goes out of his way to give pleasure to his old friends." Quote
AllenLowe Posted March 15, 2008 Report Posted March 15, 2008 well, at least he wasn't selfish - Quote
king ubu Posted September 11, 2008 Report Posted September 11, 2008 how about these sessions now compiled on a Fresh Sound CD: Scott's Fling (RCA Victor LJM 1022) Jimmy Nottingham (tp) Billy Byers (tb) Eddie Wasserman (ts) Danny Bank (bar) Milt Hinton (b) Osie Johnson (d) New York, December 18, 1954, January 7 & 12, 1955 Abstraction No. 1 Autumn Nocturne But Not for Me Finger Poppin' Blues Forty-Second Street Glad to Be Unhappy Let my Fingers Go! Lucky to Be Me Love is Here to Stay Requiem for "Lips" Sunday Scene Three Short Dances for Solo Clarinet Tony Scott Septet (RCA EPA 596) Jimmy Nottingham (tp) Kai Winding (tb) Tony Scott (cl) Eddie Wasserman (ts) Danny Bank (bar) Milt Hinton (b) Osie Johnson (d) New York, December 28, 1954 E4VB5492 Late Show E4VB5493 Ridin' High E4VB5494 The Blue Room E4VB5495 Vendome E4VB5496 Lullaby of Birdland Tony Scott (Vic EPA 705) same, Billy Byers (tb) replaces Kai Winding New York, December, 1954 Body and Soul Friday the Thirteenth My Melancholy Baby Squaw with no Reservation Just playing this now for the first time, and before that I played "Sung Heroes" again. Some very good stuff on the latter, but also the septet sessions (reissued as "Fingerpoppin'", FSR-CD 415, 2006) contain some very nice music, I find. Some that immediately makes one listen, quite surprising and fresh, I find. Btw, the Tony Scott page (tonyscott.it) seems to be down, I wanted to check out the disco there. Quote
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