Posts in Internet Jazz Forums Written by José Domingos Raffaelli (English)
(In Reverse Chronological Order)

The following messages are from The 52nd Street Jazz Forum

Posted: Tue 4/22/03 09:04 am


Here is the line-up of Lee Konitz & Talmor Nonet:

Lee Konitz - alto sax

Ohad Talmor - saxophones & clarinet

Dennis Lee - Bass Clarinet & Tenor Sax

Daniel Alcântara - Trumpet

Sidney Borgani - Trombone

Dimos Goudaroulis - Cello

Djalma Lima - Guitar

Bob Bowen - bass

Matt Wilson - drums

If you want all the musicians involved in the festival, please don´t hesitate to ask.





Posted: Fri 4/25/03 08:57 am    


Sure, Eric Alexander is one of the best of his generation.

The Chivas Jazz Festival is a REAL jazz festival. Unfortunately its counterpart (Free Jazz Festival, now retitled Tim Jazz Festival) followed the steps of the Montreux Jazz Festival presenting a bunch of pop groups and singers, leaving the least important role to the jazz musicians. This confused completely the youngsters because they started to think that groups/singers like Bjork, Spyro Gyra, Yellow Jackets, Lyle Mays and even DJs were jazz musicians. To confuse things even more, our press treated those pop artists like jazz musicians. I remember that one English DJ got an entire front page from "O Globo" ago while Joshua Redman, Nicholas Payton and the Louis Bellson´s Ellington Alumni had just a few lines on the fourth page.

As I think you know that I´m no longer working for "O Globo", so I can´t tell if there is a discount for its subscribers, but I´m gonna ask some of my former colleagues. Wait [for] my answer.

Yes, Daniel Alcântara and Djalma Lima are Brazilians. Daniel belong to a musical family: Carlos Alberto Alcantara (tenor sax), Magno de Alcantara (trumpet) and Rui Alcantara (drums). In 1961, when Kenny Dorham played here with the American Jazz Festival, he was totally taken by Magno´s playing. On his return he was submitted to a blindfold test by Leonard Feather. At the end he remarked that Lee Morgan and Magno de Alcantara were "the most brilliant new stars of the trumpet", and "Magno is something else, I never heard such beautiful music like that".

Concerning the Konitz Nonet, I believe this one presents a different kind of jazz because it includes strings.



Posted: Thu 5/1/03 09:46 am    


Teddy Edwards is a long standing favorite of mine since I heard "Blues in Teddy´s Flat" more than 50 years ago. I was totally taken by his flowing lines with a sound that was completely new for me at that time. Since then I followed his career as close as possible because I live in Brasil. At that time we did not received any jazz magazine(s), so the news were scarce. Years later I bought some Dial LPs where Teddy appeared. Then I realized the great talent he was and later felt how underrated he was.

His Contemporary LPs opened to me new visions about Teddy´s talent, at that point a mature musician who had an unmistakable sound. "Teddy´s Ready" still is one of my favorites with a great rhythm section (Joe Castro, Leroy Vinnegar and Billy Higgins).

Some years ago Contemporary released "Back to Avalon" with the Teddy´s Octet, recorded in 1960. I cannot understand why such album remained in the vaults for so long. Teddy´s cohorts are Nathaniel Meeks, Lester Robertson, Jimmy Woods, Modesto Briseno, Danny Horton, Roger Alderson and Larance Marable. The album offers some very good arrangements with an excellent ensemble sound plus some first rate solos by Teddy and his sidemen. By the way, Modesto Briseno played in Brasil with the Harry James orchestra at that year.

Unfortunately, I never heard Teddy Edwards alive. I´ve been once in Los Angeles in 1972 on the way to Disneyland with my wife and my 7-year son, so I´ve lost the chance to hear any music.

Listen "Blues in G", the first track of "Teddy´s Ready" or his solo in "Sunset Eyes" with the Max Roach-Clifford Brown Quintet. His solos speak for himself.

Thanks Teddy Edwards for your music, your solos and your career. We will never forget how great you were.


Posted: Fri 5/9/03 10:36 am    



Miles Davis recorded "I Never Entered My Mind" twice: in 1954 for Blue Note and in 1956 for Prestige.

Horace Silver plays a very smooth introduction in the 1954 recording. It impressed Miles very much because he asked Red Garland to play the same intro in the 1956 recording.


Posted: Tue 5/13/03 01:59 pm    


I think the tributes sometimes can be wonderful and other times are a drag. It all depends of many circumstances, of course.

I agree completely with Bobb concerning Arturo Sandoval´s tributes.

Let me tell [you] something about this subject. After composer Antonio Carlos Jobim passed away there were recorded more than 100 tributes to him. Almost everybody in the field made a record with his compositions, including many Brazilian pop artists. This can be incredible for you, but soon I became tired of his songs, no matter how beautiful they are. See my point ?

Many years ago I heard a French pianist (I forgot his name) playing a tribute to Bill Evans, but he transcribed note for note all Evans solos and recorded them. Why the hell [should] I hear this guy when I have the original Bill Evans records ?


Posted: Wed 5/14/03 01:02 pm    Post subject: 50 years without Django Reinhardt


Gipsy guitarist Django Reinhardt passed away on May 16, 1953 (some sources gave the date of May 15) - 50 years ago.

He was one of the jazz pioneers in Europe and the first foreigner to influence American musicians.

It is amazing to hear the solo of guitarist (and also trombonist) Eddie Durham in "Hittlin´the Bottle" with the Jimmie Lunceford Orchestra, recorded in 1935. You´ll notice how close of Django are his sound, phrases and ideas.

Please, let me know your thoughts about D.R.


Posted: Tue 4/8/03 09:07 am    Post subject: Jutta Hipp - R.I.P.


German pianist Jutta Hipp died yesterday, April 7.

Jutta was one of the best European jazz pianists in the fifties. She led a quintet during some years before go to New York, where she recorded for Blue Note and other minor labels. Jutta style followed the steps of the Lennie Tristano school.

Steve Schwartz, producer of "Jazz From Studio 4" broadcast, every Sunday 8p-1a on WGBH, 89.7 Boston, informs that "it appears that she died without family or friends to help her. Some neighbors in her apartment building, one of whom is a nurse with the city of New York, helped to care for her after she was discharged from the hospital. Her brother lives in Germany and is too ill to come to the U.S. although he visited her last summer. Lee Konitz and his wife called Jutta occasionally and visited her when they came to the U.S. Jutta seems to have had insufficient funds for a burial or a funeral, and she willed her body to Columbia University".


Posted: Thu 4/3/03 03:57 pm    

It is a shame what are doing to Maria Schneider. She is so sweet and kind and doesn't deserve that. The interview I conducted with her was one of the best I had the pleasure to make in my long life as a journalist. The concert of his orchestra was one of the most memorable I´ve heard in my life - among others, the orchestra brung Greg Gisbert, David Ballou, Ingrid Jensen, Rick Margitza, Rich Perry, Scott Robinson, Bill Mays and many others. It happened in 1998.

Two years ago Maria spent some days in Rio, but I was unable to see her.

I agree with Bobb: if these days there is a composer-arranger more talented than Maria, please let me know.


Posted: Fri 4/4/03 08:00 am    



The "flight" Maria did over Rio in the wing of that dangerous and small "engine" has been taped by a local TV. Ii proved she has a lot of courage and did it with apparent easy, smiling almost all the time.

I know it inspired her to write a composition celebrating this adventure.

Certainly I would be scared to death if I had to do such thing.

Let me add something about the concert her orchestra played here. All the music made a lasting impression on me, but "El Viento", a composition in 6/8 meter, remained in my mind as one of the most intriguing I´ve heard in the last years. By the way, can you tell if it has been recorded?


Posted: Fri 2/21/03 08:55 am    



At this point I suppose you don´t need other names, but let me add some more. Excuse me If some of them were mentioned before, but I will add them anyway:


Jimmy & Marian McPartland

Red Norvo & Mildred Bailey

George & Florence Handy

Al Cohn & Florence Handy

Al Cohn & Marilyn Moore

Ray & Bonnie Wetzel

Stan Kenton & Ann Richards

Jerry & Dottie Dodgion

Paul & Carla Bley

Mike Mantler & Carla Bley

Steve Swallow & Carla Bley

Lenny Hayton & Lena Horne

Joe Guy & Billie Holiday

Harold Baker & Mary Lou Williams

Gary & Annette Peacock

Ray Brown & Ella Fitzgerald

Willie Dennis & Morgana King

Tony Fruscella & Morgana King

Joe Schulman & Barbara Carroll

Louis Armstrong & Lil Hardin

John & Alice Coltrane

Charles & Joanne Brackeen

Billy Drummond & Renee Rosnees

Jimmy Cobb & Dinah Washington

Eddie Chamblee & Dinah Washington

George Treadwell & Sarah Vaughan

Waymon Reed & Sarah Vaughan

Charlie Mariano & Toshiko Akiyoshi

Lew Tabackin & Toshiko Akiyoshi

Jimmy Cleveland & Janet Thurlow

Duke & Sheila Jordan

Kenny Clarke & Carmen McRae

Neil Hefti & Frances Wayne

Dave Barbour & Peggy Lee

Louis Bellson & Pearl Bailey

Harry James & Louise Torbin

Sy Oliver & Lilian Clark

Jimmy & Mama Yancey

Andre Previn & Betty Bennett

Elmo & Bertha Hope

Larry & Julie Coryell

Gigi Gryce & Lee Sears

Pim Jacobs & Rita Reys

Bobby Troup & Julie London

Oscar & Miriam Klein

Houston Person & Etta Jones

Cecil & Dee Dee Bridgewater

Abdullah Ibrahim & Bea Benjamin

Joe Lovano & Judy Silvano

Wallace Roney & Geri Allen

Stanley Turrentine & Shirley Scott


Posted: Tue 2/18/03 01:26 pm    


Will Bradley & Will Bradley Jr.

Al & Joe Cohn

Thelonious & T. S. Monk

Django & Babik Reinhardt

Stan & Clark Tracey

Jimmy & Doug Raney

Dizzy Gillespie & Jeannie Bryson

Duke & Mercer Ellington


Dick & Ted Nash

Dave & Darius, Chris, Danny Brubeck

J. J. & Kevin Johnson

Von & Chico Freeman


Jack, Charlie & Norma Teagarden

Roy & Joe Eldridge

Benny, Irving & Harry Goodman

Al & Bill Levitt

Conte & Pete Candoli

Milt & Alvin Jackson

Keg & Budd Johnson

Erroll & Linton Garner

Cannonball & Nat Adderley

Johnny & Baby Dodds

Wayne & Allan Shorter

Wallace & Antoine Roney

Ernie (saxes salto e tenor) & Jimmy (trombone) Wilkins

Zoot & Ray Sims

Art & Addison Farmer

Albert & Don Ayler

Gap & Chuck Mangione

Ernie & Marshall Royal

Sam & Wayne Dockery

Django & Joseph Reinhardt

Milt & Ted Buckner

Randy & Michael Brecker

Illinois & Russell Jacquet

Sam & Abe Most

Elmon, Lamar & Specs Wright

Teddy & Marty Napoleon

Bud & Richie Powell

Ray & Tommy Bryant

Adrian & Art Rollini

Hubert & Ronnie Laws

Fletcher & Horace Henderson

Stanley & Tommy Turrentine

Phineas & Calvin Newborn

Von, Bruz & George Freeman

Albert & Emil Mangelsdorff

Claude & Stu Williamson

Earl & Bob Swope

Rolf & Joachin Khun

Hubert & Raymond Fol

Red & Whitey Mitchell

Charlie & Gene Byrd

Wilbur & Sidney de Paris



Posted: Tue 2/18/03 01:07 pm    


Chubby Jackson son is Duffy Jackson.


Posted: Fri 12/13/02 03:41 pm    



Fats Navarro and Kenny Dorham also recorded together with Kenny Clarke and His 52nd Street Boys, for RCA Victor, in September 9, 1946.

The personnel was Fats Navarro, Kenny Dorham (tp); Sonny Stitt (as); Ray Abrams (ts); Eddie de Verteuill (bs); John Collins (g); Bud Powell (p); Al Hall (b); Kenny Clarke (d); Walter "Gil" Fuller (arr).




52nd Street Theme


Rue Chaptal (a.k.a. Royal Roost, a.k.a. Sportin´ Crowd, a.k.a Tenor Madness {Blues}


By the way, what happened to Eddie de Verteuill ?


Posted: Fri 12/13/02 08:51 am    


Clifford Brown and Art Farmer recorded together in Paris and Stockholm during the Lionel Hampton orchestra tour in Europe in 1953.

Aside the sides mentioned in "Clifford Brown Memorial" (including Brownie´s classic solo on "Stockholm Sweetnin´", transcribed by Quincy Jones in the arrangement of the same tune on the album "This Is How I Feel About Jazz), they also recorded together in the Paris big band sides released by Prestige under Brown´s name.


Posted: Wed 12/4/02 07:38 am    

Mal Waldron played just once in São Paulo, Brasil, in the Chivas Jazz Festival,in 2000. He did a magnificent set in duo with Steve Lacy. Originally they would perform with singer Jeannie Lee, but she failed to appear due to the illness that took her life some time later.

Mal and Steve played an unforgettable set. Their music still sounds on my ears.

His composition "Soul Eyes" is one of most poignant and beautiful tunes I´ve ever heard comparable to the best works of Duke Ellington, Billy Strayhorn, Thelonious Monk and Tadd Dameron.


Posted: Fri 11/29/02 06:43 am    



Yes, "Blues in the Closet" and "Collard Greens and Black Eyed Peas" are the same blues line recorded with different titles.

Pettiford blues lines always amazed me because they are different from the standard blues construction.


Posted: Thu 11/7/02 09:29 am    


I heard Red Rodney in person just once. It happened in the "Bebop Night" of the JVC Jazz Festival of 1989. It was an unforgettable night. The all star group reunited Red (fluegelhorn), Dizzy Gillespie, Phil Woods, Milt Jackson, Duke Jordan, Buster Williams and Mel Lewis.

As you might expected, they played several superior bebop compositions ("Our Delight", "A Night in Tunisia", "Ow!", "That´s Earl, Brother", "Bouncing with Bud" and some others) but I never forgot the moving ballad medley they played:

Diz: "I Waited for You" / Red: "I Can´t Get Started" / Woods:

"Yesterdays" / Bags: "Flamingo" / Duke Jordan: "Don´t Blame Me" /

I was so taken by the music that I was moved to tears when Jordan started playing "Don´t Blame Me" with such beautiful soft chords.

What a night!

Excuse my reminiscences. If you lived in a far distant country and you had so few chances to hear jazz live, you would understand my feelings.


Posted: Thu 11/7/02 10:17 am    


Red recorded "Red Arrow" three times with different titles. Of course, it is based in the old warhorse "Cherokee".


Posted: Tue 11/5/02 07:54 am    


Astrid wrote:

<The Sam Most recording ,I mention, is not on CD but on LP.  Mettome on trumpet, Urbie Green on bone, Bob Dorough on piano, Percy Heath on bass and Louie Bellson on drums.>



Originally it has been issued in a Debut 10 inch LP. Xanadu´s "Bebop Revisited" appeared more than 30 years later. By the way, the sound of the Debut is superb, infinitely superior to the Xanadu edition.


Posted: Mon 11/4/02 08:51 am    

Doug Mettome recorded two superb solos on "Undercurrent Blues" (with Benny Goodman, in 1949) and "Leo the Lion" (with Woody Herman in 1951, I believe). He was heavily influenced by Dizzy Gillespie and showed in both solos how capable he was.


Posted: Fri 11/1/02 12:56 pm    

Joe Gordon is another one who left us too soon. He passed away at 35 during a fire while he was sleeping.


Posted: Tue 10/22/02 01:40 pm    

We can´t forget to mention the sensational Harry Arnold big band when speaking about the Swedish modern jazz scene. His orchestra reunited the elite of local jazzmen and recorded at least three great albums arranged by Quincy Jones and the maestro himself.


Posted: Tue 10/22/02 07:52 am  

Luis Antonio Palmeira wrote:

<<In the same vein, I have an excellent Definitive Records CD, Kansas City Swing, containing, among others, that beautiful 1938 session with LY playing mostly clarinet and also tenor-sax. "Pagin' The Devil", cited yet by Philguy, and also "I Want A Little Girl" (!!), "Countless Blues" (!!), "Them There Eyes" and "Way Down Yonder In New Orleans". Does anyone remember me about other Pres clarinet references ?>>

I remember just one more: "Texas Shuffle" with the Count Basie orchestra.


Posted: Fri 10/11/02 08:02 am    


Mr. P. C. wrote:

<<Hey, right now I'm listening to a great clarinetist, the Brazilian Paulo Moura. His recordings cross a bunch of genres--he's a choro specialist, he's done some jazz things, and projects involving gafieira (a Brazilian ballroom music). The one I've got on now is Dois Irmaos, duets with guitarist Raphael Rabello. He's also done some nice duets with American pianist Cliff Korman, who is an honorary Brazilian.>>

Great to see Paulo Moura´s name on this site. He is a very good friend of mine for almost 50 years, since 1953. Matter of fact, I studied alto sax with his father, who led a band in Sâo José do Rio Preto, São Paulo state in the twenties.

Paulo is a virtuoso who can play Brazilian music, classical, jazz and almost all kinds of music. He recorded so many records and excels in every one.

Among many others, there is an excellent duet with Cliff Korman recorded in concert in Italy, a tribute to Duke Ellington and Pixinguinha. There is an interpretation where they combine "Satin Doll" with "Carinhoso" (Pixinguinha´s classic) that borders the fantastic.

"Dois Irmãos" is a very good one, but IMHO his masterpiece is "Revolução Rural, Urbana Suburbana", with arrangements by Wagner Tiso, recorded in 1976 for RCA Victor, now a collector´s item.

Concerning Cliff Korman, he recorded several albums in Brasil. One of the latest is "Bossa Nova Jazz", recorded in Belo Horizonte, Minas Gerais state, with some of the local best musicians, including Brazilian number one drummer Esdra Ferreira, nicknamed Nenem, whom I use to call "the Brazilian Kenny Clarke.


Posted: Wed 10/9/02 08:32 am    

<<JDR: there is a very poor quality acetate of Prez in 1942 singing "Just a Little Bit South of North Carolina." It's on CD on Lester Young Volume 2 - 1939-1942, on the Masters of Jazz (Media 7) label. It's an excellent collection because it has the rarest Prez, including airchecks with his own small group with Shad Collins, John Collins, Nick Fenton and Doc West, which never recorded commercially. It also has the trio sides with Nat Cole and Red Callender, and other rarities.>>

Thanks Mr. P.C. Although I don´t have that Lester Young volume 2, I have "Historical Prez - Lester Young 1940-1944" on Everybody´s label with the same musicians on two tracks ("Tickle Toe" and "Taxi War Dance"). "Benny´s Bugle" is with another group (Bumps Myers, Paul Campbell, Jimmy Rowles, Red Callender and Lee Young.

The remaining 12 tracks are with the Count Basie band with some vocals by Thelma Carpenter.

All tracks are airchecks, of course.


Posted: Tue 10/8/02 12:45 pm    

The Art Tatum Group Masterpieces. volume 7 (Pablo) is an unforgettable meeting of the master pianist with Buddy DeFranco, a master clarinetist. Some critics wrote that DeFranco was the only musician to intimidate Tatum. They are accompanied by Red Callender (bass) and Bill Douglass (drums), two rhythm men favorites of Tatum. Among several great interpretations you will enjoy especially "This Can´t Be Love", "Deep Night" and "A Foggy Day.


Posted: Tue 10/8/02 12:29 pm    

The 1952 session with OP and trio is excellent. Pres is really moving on ballads "These Foolish Things", "I Can´t Get Started", "I´m Confessin´" and in the superb rendition of "Star Dust", one of the most moving statements I´ve ever heard, even by Lester standards.

Pres also sing two takes of "Two to Tango". As far as I know there are his only vocals ever recorded.


Posted: Fri 10/4/02 03:32 pm    Post subject: Please, help me to contact Phil Leshin


Please, do any of you know the email or address of Phil Leshin, the former Lionel Hampton´s manager ? I´ve tried to find it through many sites on Internet, incluing Hampton´s but I don´t found any information, except some photos published on the Buddy Rich homepage.

Why I´m looking for him? Well, Leshin played bass with Tommy Dorsey orchestra in 1951 in Rio. At that time I organized a jam session with some TD´s sidemen, among them Sam Donahue, Bobby Nichols, Buddy Childers and Leshin. I took some photos of the jam and one particular of Leshin in action. When the jam ended I asked his address promising to send the photo and he said "I give you later", but he disappeared. It was the last day of the band in Rio, so I lost contact with him. Since then I wanted to send this photo but never found his address.

If any of you can help me I´ll be grateful forever.

Certainly Phil would have a big surprise to receive it after 51 years. At this late date maybe he doesn't remember me, or the jam session or even Rio...

Thanks your help, folks.


Posted: Fri 10/4/02 08:12 am    



The New Orcar Pettiford Sextet has been released in CD in the Original Jazz Classics series. Here is the information found on the Fantasy´s site:


Oscar Pettiford work on cello set a standard that bassists doubling on the instrument have attempted to reach ever since. Here, with Charles Mingus backing him on bass, Pettiford displays his hallmark legato and pizzicato control, firm swing, and impeccable note choices that made him inimitable on both instruments. Along with the famous 1953 Pettiford sextet recordings, this CD includes selections by the bassist with the Serge Chaloff octet in 1949 and with his Scandinavian trio in Copenhagen a decade later.

Pendulum at Falcon's Lair, Tamalpais Love Song; Jack, the Fieldstalker; Fru Brüel, Stockholm Sweetnin', Low and Behold, I Succumb to Temptation, plus CD bonus tracks Chickasaw, Bop Scotch, The Most, Chasin' the Bass with Phil Urso, Julius Watkins, Walter Bishop, Charles Mingus, Percy Brice, Louis Hjulmand, Jan Johansson.


Posted: Mon 9/30/02 01:11 pm    


Dodo was one of the first bop pianists to caught my attention and since then became of my long standing favorites. My first encounter with him came with the Charlie Parker Dial four inch LPs and his trio for the same label.

Probably I´ve heard those Dial trio tracks several hundred times. With Harry Babasin (bass and CELLO for the first time on record) and Jackie Mills (drums), Dod layed unforgettable fluent and inventive solos in "Dodo´s Dance" ("Cherokee"), "Trade Winds", "Cosmo Street" ("Lover), "Daring Departs" and "Bopmatism" that I memorized note for note.

Later I´d bought add Marmarosa records I could trace, including "Dodo´s Back!", "Dodo and Jug" (including some exciting trio tracks), "Up in Dodo´s Room" and "Pittsburgh 1958", from TV and radio broadcasts (the booklet includes a highly informative interview with him).

I´m very fond of bebop and highly interested on its formative and first years. Marmarosa, Duke Jordan, George Wallington, Al Haig, John Lewis, Sadik Hakim, and, of course, especially Monk and Bud Powell always commanded my attention.


Posted: Mon 9/30/02 12:46 pm    Post subject: Oscar Pettiford


The great bassist Oscar Pettiford was born 80 years ago, in September 30, 1922.

As one of my long-standing favorites. Pettiford was a master of the bass and a very influential one in the forties and fifties. In some ways, he settled definitely the modern style for his instrument along with Charles Mingus and Ray Brown, as successors of the late great pioneer Jimmy Blanton.

He was a real combo and orchestra leader, an organizer of first water. Although few recognizes him as a composer (and arranger), he wrote some great tunes, including "Tricotrism", "Lavern Walk", "The Perdulum at Falcon´s Fair", "Something for You" (later retittled as "Max Is Making Wax"), "Bohemia After Dark" and many others.

All his blues lines have his personal stamp, something special that makes them quite different from the standard blues compositions. Listen "Swing Until the Girls Come Home", "Don´t Squawk" or "Blues in the Closet" and see what I mean.

His "For Bass Faces Only", recorded live by the Coleman Hawkins quintet, was copied note for note by Ray Brown (including the arrangement) as "One Bass Hit", as you can hear in the Dizzy Gillespie big band recording.

IMHO Oscar Pettiford was a giant. He passed away at 38, but certainly he would be remembered if he lived two or three decades more.

Excuse these thoughts but I couldn´t leave this date unnoticed.


Posted: Wed 9/25/02 04:48 pm  


Bobb wrote:

<<The Shelly Manne Quintet in which he played was, to me, the best one Shelly ever had: Charlie Mariano, Stu Williamson, Leroy Vinnegar, and Russ. They only made two albums for Contemporary, but both were wonderful, especially the first with Doxy, A Dart Game, etc.>>

That one is "Shelly Manne & His Men - Vol. 4"´- I agree enthusiastically. Besides the playing of highest order, I was surprised with the organization of this date. Even after 46 years (it has been recorded in 1956), Shelly must be highly praised to take care of business, asking some of the best arrangers in the Coast to write the charts. There´s nothing to do with a blowing session. Each arrangement has its own identity, its distinct flavor and a different concept from the others. After hearing this record during almost a half century, I believe few record sessions were so well planned like that one.

By the way, I´ve heard the Shelly Manne quintet alive at the Shelly Manne´s Hole, in Cahuenga Boulevard, Hollywood, in 1972, the only time I´ve been there. It was an unforgettable night. The Manne´s men were Conte Candoli, Frank Strozier (a long forgotten and underrated player), Russ Freeman, Monty Budwig and the boss.

Shelly played in Rio de Janeiro the year before and I was extremely pleased when he recognized me in the audience. It was a rewarding night for me.


Posted: Thu 9/19/02 07:56 am    


Kurt wrote:

<Can anyone think of a West Coast precedent for a baritone and tenor quintet? I can't, certainly not off the top of my head.>

The only quintet in the West Coast with tenor and baritone I can recall was the one with Jack Montrose and Bob Gordon, but they started in 1955. I suspect they played together in records. I suspect they never worked as a regular outfit. They recorded "Arranged/Played/Composed by Jack Montrose with Bob Gordon, an excellent album reissued some three years ago by Koch/Atlantic. Now a long forgotten musician, Jack Montrose was a very talented soloits, composer and arranger.



I always [will] be a big band addict. I started listening [to] jazz and American popular music in the forties. At that time big bands were the most important vehicles in music, before singers dominated the scene.

Despite jazz and American popular music changed so much in the last 50/55 years, my enthusiasm for big bands never faded.


Posted: Mon 9/16/02 12:15 pm    


<<John Malachi was probably the piano in that '44 band.>>

You´re right, Mr. P. C.

Charlie Parker was playing also sax in the picture I previously mentioned and Leo Parker was on the baritone.

The line-up of the Eckstine band was really impressive, but at that time most of the musicians were almost unknown.


Posted: Mon 9/16/02 08:52 am    


There´s a picture of the 1944 Billy Eckstine Band in one of Mr. B´s CD showing Charlie Parker, Sonny Stitt, Lucky Thompson, Gene Ammons and Leo Parker in the sax section.

Dizzy Gillespie, Howard Mr.Ghee, Fats Navarro and Miles Davis are in the trumpet section; Benny Green among the trombonists; Tommy Potter on the bass; Art Blakey at the drums and, last, but not least, Sarah Vaughan sharing the mike with Mr. B.


Posted: Thu 9/12/02 03:18 pm    



I agree with you. I had a feeling that Joshua Redman had a great potential to develop since I´ve heard "Joshua Redman" and "Wish". Soon after I´ve heard him live here in Brasil and he confirmed my first impressions.

Certainly he is a very fluent player with a lot of enthusiasm and energy, but his last two appearances here gave me a feeling he stayed basically the same musician without blooming his potential.

But his record "Passage of Time" was a deception. I believe his compositions are somewhat pretentious. I suspect he tried to write a suite but was completely unsuccessful. Some of the tunes sounds very boring like Before, Free Speech, Phase I - Declaration, Free Speech, Phase II and Discussion. Some of them even lack musical identity, are very much alike and their lines are almost formless.

Among the tenor players of the new breed, I like what are doing Tim Warfield, Mark Turner and Mark Shim.


Posted: Thu 9/5/02 09:51 am    


First of all, I would like to know if Lionel Hampton´s manager Phil Leshin is the bassist who recorded with Gerry Mulligan in the fifties. If so, he played with Tommy Dorsey orchestra in Rio de Janeiro, Brasil, in December 1951. I have some photos of that time with TD musicians, including a large one of Phil Leshin playing in a jam session I organized. Soon after I´d send it to him but my letter returned because I had his wrong address. Please, does anyone know his address or email if he is the same bass player? Thank you in advance.

I had the privilege to catch the Lionel Hampton orchestra playing in the long defunct Basin Street during my first trip to New York in 1954. It was his first NY appearance in almost two years, so the club was packed. I recall Hamp announced some personalities in the audience, including Leonard Feather, dancer-actress Eleonor Parker, singer-actor Sammy Davis Jr., actor-drummer Jackie Cooper and Buddy Rich among others.

Of course, Hamp and his musicians played as I imagined they would do with a lot of energy and enthusiasm. I remember some musicians of his band were Nat Adderley (his first job in NY, before the arrival of his brother Cannonball from Florida), Eddie Mullens (trumpet), Al Hayes (trombone), Jay Peters (tenor sax) and George Jenkins (drums). Among many Hamp hits (including "Hey-Ba-Ba-Re-Bop", "Beulah´s Boogie", "Tha Major and the Minor", etc), he played a beautiful rendition of his "Midnight Sun".

The final number, of course, was "Flying Home" and Hamp invited Buddy Rich and Jackie Cooper to join him and George Jenkins. Jay Peters played the original Illinois Jacquet solo note for note and then went in an exciting solo for five or six minutes. Near the end, Rich, Cooper, Hamp and Jenkins soloed for many minutes. At this point, the audience went almost crazy, dancing and screaming. At the end, Hampton said to his musicians: "Cooling, boys, cooling".

That´s some recollections about that night. I still have the Basin Street program that I treasure with my belongings.

Excuse this long post and my many mistakes. Remember, after all, that Portuguese is my native language.

Thank you,


Posted: Wed 4/24/02 01:59 pm    


Hi Luis,

Very interesting your thoughts about Mingus, one of my long standing favorites. You mentioned the "Mingus, Mingus, Mingus" CD and brought me very fond memories because I wrote its liner notes when it comes out in LP form in Brasil. It was the first liner notes I´d wrote in my life. By the way, I´d wrote a piece about him in the Music Net magazine on Internet, edited by my son. If you´re interested to take a look please access <<<>>>.

As we say in Brasil, abraços,


Re: My Father


Posted By: José Domingos Raffaelli

Date: Monday, February 25, 2002 at 8:41 a.m.


In Response To: Re: My Father (bob bednar)


> Yes, of course. Sid is a legend. I would especially like

> to hear any stories about the live Broadcasts from Birdland

> when he chatted with Bird, Bud, Diz and the gang. I'm sure there

> are some tales that good taste will not permit you to repeat,

> but the others will more than do. Thanks in advance.


I´d met the legendary Symphony Sid in 1954, on my first trip to New York. I was hearing the Charlie Parker quartet at Birdland and Duke Jordan introduced us. After a brief conversation he gave me his autograph that I treasured for many years. Two years ago I sold my autograph books (with hundreds of jazz musicians signatures) in an auction in New York.


* * *


Re: My Father


Posted By: José Domingos Raffaelli

Date: Tuesday, February 26, 2002 at 7:45 a.m.


In Response To: Re: My Father (bob bednar)


> It might have been even nicer if Jordan had introduced you to

> Bird...if he didn't. Being a skeptic by nature,

> I wonder just how "hip" the hippies thought Sid was.



Duke Jordan, as well as Tommy Potter and Roy Haynes, the Bird´s rhythm section, were so kind and gentle with me. Matter of fact, Jordan introduced me to Symphony Sid and vibist Joe Roland, who was in the bar watching the group. That night Roland told me he just recorded a session with Jordan for Savoy (I believe).


* * *


Fletcher Henderson's "Singin' the Blues"

Posted By: José Domingos Raffaelli

Date: Wednesday, January 23, 2002 at 9:59 a.m.


I was listening "Singin' the Blues" by the Fletcher Henderson Big Band and noticed that the arrangement and Rex

Stewart trumpet solo were copied note for note from the classic Frankie Trumbauer-Bix Beiderbecke record.

Does anyone clarify if is was the first time an orchestra copied the recording of another group?

Thank you.


* * *


Re: Answers to No Peeking

Posted By: José Domingos Raffaelli

Date: Wednesday, January 23, 2002 at 5:39 a.m.

In Response To: Answers to No Peeking (bob bednar)


> Okay, time's up. I think anyone who felt like taking a shot on

> my little who/what quiz has already responded.

> I'm proud to say that the erudite involvees on this thread did

> quite well. Eight out of 10 ain't bad, especially with the

> "no peeking" rule. Here's the answers.

> 1. The original MJQ consisted of John Lewis, Milt Jackson,

> Kenny Clarke, and (this was the tough one)

> Ray Brown.

> 2. The first "sideman" that Oscar Peterson employed

> was

> (here he is again) Ray Brown. At first it was just Oscar and

> Ray, then Peterson added Barney Kessell on guitar

> for his first trio. (Remember, none of this has anything to do

> with his work in Canada.)

> 3. Miles Davis first recorded with soprano sax man Herbie

> Fields. That's a tough one.

> 4. Original 4 Brothers didn't faze too many: Getz, Sims,

> Herbie Stewart (if you missed, it would have been on

> Herbie), and Serge Chaloff.

> 5. Ornette Coleman's first recording included pianist

> Walter Norris.

> 6. When Terry Gibbs split from Woody Herman, Milt Jackson

> took his place for a short time. Check him out on "Not

> Really the Blues" and "More Moon." Capitol

> Records. No one got this right.

> 7. The main trumpet soloist in the Gil Evans-oriented

> Claude Thornhill band was a young Philly bebopper named

> Robert Chudnick (Red Rodney).

> 8. The Ivory Hunters album on United Artists featured

> both Bill Evans and Bob Brookmeyer on piano.

> 9. You knew you were approaching Eddie Condon's original

> club in Greenwich Village when you saw the the "pork

> chop"...a neon lighted guitar hanging over the entrance.

> Zero on this one.

> 10. Lester Young disliked the diminutive emcee at the

> original Birdland, tabbing him "a half a m....r f....r

> Two of our scatalogical members rang the bell here.

> Correction: I said participants got eight out of 10. It

> was actually seven out of 10. The misses again were:

> Miles firt recording, who replaced Terry Gibbs, and

> how did you know you were close to Condon's. Still pretty

> darn good.


Hi Bob,

     Just a little correction.  Check the time of my post (before your "Answers To No Peeking") and see my answers to

questions 3 and 6: Herbie Fields and MIlt Jackson.


* * *


Re: No peeking

Posted By: José Domingos Raffaelli

Date: Tuesday, January 22, 2002 at 6:33 a.m.


In Response To: No peeking (bob bednar)

      > 1. Name the original members of the Modern Jazz Quartet

> 2. Who did Oscar Peterson have in his first U.S. group?

> 3. Who did Miles Davis first record with?

> 4. Who made up Woody Herman's 4 Brothers' sax section?

> 5. Wbo was the pianist on Ornette Coleman's first record?

> 6. Who replaced Terry Gibbs on vibraphone with the Woody

      > Herman Orch.?

> 7. Who was the jazz trumpet soloist with the Gil Evans-

      > influenced Claude Thornhill band of the mid-40's?

> 8. An album titled The Ivory Hunters featured two piano

      > men:Bill Evans and ......?

> 9. Those visiting Eddie Condon's Greenwich Village club

      > in the mid and late 40's knew they had arrived at the

      > right location when they saw "what" outside the club?

> 10.Lester Young had a pet name for Pee Wee Marquet, the

      > midget emcee at the original Birdland. What was it?

      > On your marks, get set, go!


Hi Bob,

      Let me try:

      1. Milt Jackson, John Lewis, Ray Brown and Kenny Clarke recorded for the first time in August 1951, for Dee Gee

      label but Jackson, Lewis, Alvin Jackson (Milt's brother) and Klook recorded four tracks in Abril 1948, in Detroit .

      2. Oscar Peterson, Irving Ashby and Ray Brown

      3. Herbie Fields

      4. Getz, Zoot, Herbie a and Chaloff

      5. Walter Norris

      6. Milt Jackson

      7. Red Rodney

      8. Evans and Bob Broomeyer

      9. Don't know

     10. Don't know



* * *


Posted By: José Domingos Raffaelli

Date: Wednesday, January 9, 2002 at 11:15 a.m.

In Response To: Do we miss Dewey? Do we! (bob bednar)


> Even though he's been gone for more than a decade, the

> thought that Miles Dewey Davis is no more is painfull.

> Having had the pleasure of listening to MD live starting

> with he and Bird at the Onyx Club on 52nd St. in 1949,

> up to his first "comeback" concert at Lincoln Center

> more than 30 years later, the man's music is impenetrably

> etched on my psyche.

> Davis was the perfect foil for Charlie Parker. Listening to

> Miles' solos on early classics like Now's the Time, and Billie's

> Bounce clearly illustrate the presence of

> more than just a timid novice, cowering in the shadow of

> a giant. His carefully chosen notes and early on ability

> to understand the importance of "space" were welcome

> following Parker's awesome swoops and surges.

> Much has been written about the Birth of the Cool recordings

> and their importance in the history of jazz.

> Let me only reiterate that Miles was the catalyst and

> perhaps the most importance solo voice. Without his proding,

> organizing, collecting, cajoling, etc., the

> Birth of the Cool would not have been (And don't forget

> the important role arranger Pete Rugolo had in convincing

> Capitol Records to record the nonet.).

> Then came Miles' two legendary groups: the quintet/setxtet of

> the mid and late 50's with Trane, Cannonball, Bill Evans, etc.,

> and the Hancock/Shorter/

> Carter/Wlliams band of (1963-68). Fans and critics continue to

> debate which of these is the greatest of all

> small jazz groups. I pass.

> Although Miles never led a band with Monk and Milt Jackson, he

> did lead the "Three M's" in one of the most

> fruitfull recording sessions ever. On Christmas Eve of

> 1954, the three jazz legends, along with Kenny Clarke

> and Percy Heath, recorded what was to be Miles Davis and

> the Modern Jazz Giants. A desert island disc if there ever was

> one. Earlier that year, Miles brought Lucky Thompson, J.J.

> Johnson, Horace Silver, Heath and Clarke

> together for Walkin', another must for serious collectors.

> I'll spend no time talking about Kind of Blue because all

> involved with the 52nd Street Jazz thread knows what kind of

> impact this milestone (no pun...) has had. All time

> #1 in most afficianadoes minds.

> I also won't detail how Bitches Brew and In a Silent Way

> have reshaped jazz over the past 30+ years. Simply more

> evidence of Dewey on the cutting edge.

> So much has been written about the small man from St. Louis.

> But we do need to remind ouselves occasionally that there was a

> major and meaningful Miles well before

> Big Fun, You're Under Arrest, On the Corner, and Dingo.




Very great thoughts about Miles' undeniable importance as a jazz inovator.

After hearing and studying his work for more than 50 years, I think the first seeds of the so-called cool jazz

germinated when Miles recorded "Don't Blame Me", "Out of Nowhere" and "My Old Flame" with Bird in 1947 for

Dial. IMO his cool solos using the Harmon in those three tracks started the real Birth of the Cool.



* * *

Posted By: José Domingos Raffaelli

Date: Wednesday, January 9, 2002 at 8:56 a.m.

In Response To: Re: Some forgotten musicians (Bob Bragonier)


> I was there, Stu, and it was an impressive aggregation. I

> thought the panel presentations were especially good. One panel

> I remember in particular featured Edwards, Levy, Moody, Morgan,

> and Woods. Of course, whenever Woods gets warmed up, hold onto

> your hat!


> I can assure you, Jose, that Eager was in good health and

> thoroughly enjoying himself.


> Bob


Thanks all of you.




Leonard Gaskin, Don Lanphere, Stan Levy and Sir Charles Thompson are also fogotten musicians.

Leonard Gaskin must be a versatile musician because he recorded with some traditional groups and Bud Powell!

I know Stan Levy left music in order to became a photographer but after that never heard about him.

Frankly, I was in doubt if Sir Charles Thompson was alive.


Thanks again


* * *


Posted By: José Domingos Raffaelli

Date: Wednesday, December 19, 2001 at 1:03 p.m.

In Response To: Re: Conte's Gone (Bill Bernardi (52nd St Jazz))


> Truly sad news. I first heard of Conte when he did an album

> with Frank Rosolino called CONVERSATIONS (which I wish was on

> CD, because it's an incredible album), as well as his stints

> with the Tonight Show band. I had a chance to see Conte's band

> in 1980. I was in the Air Force at the time, and playing war

> games in the Mojave Desert. I got a couple of days off, and had

> a chance to go to LA with another AF person, who happened to be

> a jazz flute player. We went to Long Beach at a club that was

> actually a boat. Conte's band was hot that night, and it was a

> very enjoyable evening. One of the more interesting things about

> him was the way he held his horn, as well as his embouchre,

> which wasn't exactly textbook, but it worked well for him. I

> have another album of his that was with Phil Woods. A very

> under-appreciated trumpeter.


> Bill


Hi Bill:

First time I've heard Conte was in a Charlie Ventura Decca LP recorded live and he impressed me as a fluent bebop improvisor. The group had Bennie Green (trombone), Boots Mussulli (alto & baritone sax), Roy Kral (piano), Kenny O'Brien (bass), Ed Shaughnessy (drums) and also Jackie Cain.

By the way, is this album CONVERSATIONS the one Conte and Frank recorded in Italy around 1973 ? If so, I've heard it long time ago and I remember there is a beautiful Conte's ballad titled "Maria" and another track where both scats in a very funny way.


* * *

Posted By: José Domingos Raffaelli

Date: Tuesday, December 11, 2001 at 7:16 a.m.


In Response To: Pat Martino (bob bednar)


> Last week I had the pleasure of spending a couple of hours with

> guitarist Pat Martino who was in Jacksonville

> to mentor the jazz curiculum students at The University of

> North Florida and give a concert. Pat being a Philadelphian (he

> still lives in South Philly) we had lots to talk about in

> addition to playing most of the cuts on his two most recent Blue

> Note CD, the latest of which, "Live at Yoshi's," Pat

> told me is up for two Grammys: best jazz solo, and best jazz CD.

> My original intention was to do an hour of my show, but Pat's

> stories

> (and his music) were so fascinating I opt to make Martino the

> entire show. That evening, Pat and his alter ego, pianist James

> Ridl, stunned the audience at UNF with

> an hour plus of great duo jazz. Their musical relationship is

> totally telepathic and never stops swinging. After hearing Pat

> in person I have a new appreciation for his unique gift. To

> communicate creatively at his level is astounding, especially

> when

> you realize that after a series of brain operations in

> 1980, he lost his memory and had to learn how to play

> all over again. An amazing story about an amazing guy.


Pat Martino and James Ridl played in Rio de Janeiro, Brasil, last October in a local jazz festival. Your remarks about them reminds me exactly [of] what they played here. They showed a fantastic rapport with an almost telephatic intuition.


* * *

Posted By: José Domingos Raffaelli

Date: Tuesday, July 31, 2001 at 8:56 a.m.


In Response To: Re: Frustrated, can't find 'em (bob bednar)

> > Thanks, Jose', you are soooo hippp! I'm sure the Gene

> Norman concert w. Wardell is what I orignially had. Thought

> Garner was on it too, but guess I was wrong.

> If you're a fan of mr. Gray, you might want to pick up

> the Benny Goodman/Stan Hasselgard stuff he was on recorded live

> at the Click Club in Philly in 1948. It's

> available on Dragon. You probably have the Goodman sextet

> stuff with Wardell on Capitol from this period. Ciao.



First, I'm a huge Weardell Gray fan since the early fifties when I heard his Prestige 10 inch LP with Art Farmer and Hampton Hawes plus some tracks led by vibist Teddy Charles.

Concerning the Buddy DeFranco tracks, I don't know if they were issued in CD form. Once I had a 10 inch Capitol LP with the tracks you mentioned. Later I'd bought a 12 inch album titled "Crosscurrents", from the Capitol Jazz Classics Series produced in Holland. It has 13 tracks led by Lennie Tristano and Buddy DeFranco. The latter tracks are A BIRD IN IGOR'S YARD, THIS TIME THE DREAMS ON ME, EXTROVERT, GOOD FOR NOTHING JOE, AISHIE and OPUS 96.

The first two were recorded with a big band in 1949. A BIRD IN IGOR'S YARD is a very advanced piece for its time written by George Russell. EXTROVERT, AISHIE and OPUS 96 are with DeFranco, Teddy Charles, Harvey Leonard, Jimmy Raney, Bob Carter and Max Roach, recorded in August 24, 1949.

Once I had a Roost 10 inch LP of the George Auld quintet with Frank Rosolino, Lou Levy, Max Bennett and Tiny Khan, recorded in January 24, 1951. Also I don't know if it exists on CD. Later I'd bought a JAM (Jazz American Marketing) LP, made in Canada, titled CHARLIE PARKER-COLEMAN HAWKINS-GEORGIE AULD (with an I on his name) with the following tracks:

* KO-KO (Parker, the version from the Carnegie Hall concert in September 29, 1947)

* YOU'VE GOT ME CRYING AGAIN and CAN ANYONE EXPLAIN? (Hawkins with Billy Taylor, John Collins, Percy Heath and Art Blakey)

the Auld tracks:

* AIR MAIL SPECIAL (two takes)






* SEH! SEH! (two takes)


By the way, if someone knows [that] these Auld recordings exist on CD, could [you] inform me?


* * *

Posted By: José Domingos Raffaelli

Date: Tuesday, July 31, 2001 at 11:59 a.m.


In Response To: Re: Frustrated, can't find 'em (bob bednar)


> Jose', you the man! I'm sure the Auld cuts w. Air Mail

> Special is what I'm searching for. I saw the band in Philly in

> '50, I think, at a club called the 421 and it

> knocked my socks off. I thought Harvey Leonard was the

> pianist at that time, but hell, that was 51 years ago!

> Anyway, we still don't know if any of the stuff has ever

> reached CD. Same goes for the De Franco things. I don't

> remember the lp you mention, just that Penthouse and

> Extrovert were originally issued as a 78. Thanks again.

> BB. Where are you located?


Hi Bob:

I'm a Brazilian journalist working at Globo, Brazil's leading newspaper, in Rio de Janeiro. I write about jazz and Brazilian instrumental music (except the pop styles) since a long time ago. I started to hear American popular music since my teens and jazz caught me when I was 16. Since then I was totally immersed on the idiom, hearing everything I could find or through local broadcasts. Living so far [from] where the action is, I always tried to be informed about the jazz scene. My love for jazz is so profound and enthusiastic that I did several trips to New York just to hear the music I always loved. By the way, at this point in the 21st century, I'm one of the few who has heard Charlie Parker in person - it happened in 1954, at Birdland, an unforgettable six nights experience. It was indeed the highlight of my life, believe me. You Americans are very fortunate because you don't need to travel a long way to hear the greatest music of this or any other world: JAZZ.

I'll do my best to find any information about the Auld and DeFranco sessions.



* * *

Posted By: José Domingos Raffaelli

Date: Monday, June 25, 2001 at 10:19 a.m.


In Response To: Coleman Hawkins (Charles Jacobus)


> Hello: Does anyone have any information About The Coleman

> Hawkins


> All Star Jam Band,which was formed in France. They recorded


> On the "Swing" label. Also some info on the Dutch

> Band


> called the "Ramblers" with Coleman Hawkins. I would

> really


> like to get some of the recordings of the two bands,on any


> format.


> Charlie


Hi Charlie:


The Hawkins All Star Jam Band recorded a great session on April 28, 1937, in Paris, with Benny Carter (sax-alto and trumpet), André Ekyan (sax alto), Alix Combelle (tenor sax and clarinet), Stephane Grappelli (piano), Django Reinhardt (guitar), Alix Combelle (bass) and Bill Beason (drums).


* Out of Nowhere

* Honeysuckle Rose

* Sweet Georgia Brown

* Crazy Rhythm


Tomorrow I'll give details about the Ramblers recordings.


* * *

Posted By: José Domingos Raffaelli

Date: Monday, April 16, 2001 at 8:08 a.m.


In Response To: Re: Best Artists not heard by mainstream listeners? (Judith Schlesinger)


> Hi Jose,

>. . .

> He's quite something. So is Jay (and it's Leonhart), whom I had the pleasure of meeting last fall and whose own songs are terrific. He does one called "It's Impossible to > Sing and Play the Bass" - while doing both, of course - that's hilarious.


> Knickerbocker's is a swell place. You'll have to let me know the next time you're in NY!


> That would only whet my appetite, I fear. I had Lee's card but lost it, damn... would really like to know why he decided not to play the game.


> Judith



Sorry my delay to answer. I was out of town for the Easter holidays.

Lee Muskiker appears in "Burning for Buddy - A Tribute To The Music Of Buddy Rich - Volume II" (Atlantic 7567-83010-2). There are 13 tracks each one with a different drummer: Steve Smith, Steve Gadd, Bill Bruford, Gregg Bissonette. Dave Weckl, Simon Phillips, Dave Garibaldi, Kenny Aronoff, Marvin "Smitty" Smith, Joe Morello, Neil Peart, Steve Arnold and Buddy Rich (doubled on "Channel One Suite" from a track recorded in 1968). There is also a Cathy Rich vocal on "Them There Eyes" and Annie Ross sings on "Channel One Suite"(along with Cathy Rich, Annette Sanders and Domenick Allen).

As I'd informed, Lee Musiker plays on "One O'Clock Jump" (track 11).

. . .


* * *

Posted By: José Domingos Raffaelli

Date: Wednesday, April 11, 2001 at 1:29 p.m.


In Response To: Re: Best Artists not heard by mainstream listeners? (Judith Schlesinger)

>. . .

> Good topic. Opens up a HUGE list, I think. I bet there will be

> some comments on this one.

> The Land Without Light. Interesting image. There are countless jazz musicians who are great but not well-known - although somebody has heard of them, usually because they play in clubs.  One who comes to mind right away is pianist Lee Musiker, who is NY-based and, as far as I know, has never recorded. He is superb. I first saw him with Mark Murphy at the Jazz Standard a while back, when Murphy decided to do a spontaneous medley of, I don't know, about a dozen tunes, and Musiker never dropped a stitch. Anybody else know him?

> Judith



I agree with you. Lee Musiker is really superb. I heard him in duo with bassist Jay Leonardt (sp?) two years ago at the Nickerbocker and I was impressed with his musianship, ideas, swing and knowledge of tunes I forgot [about] long time ago.

As far as I know he recorded at least once. It happened in a CD tribute to Buddy Rich with ten drummers leading different groups. Lee plays just on the last track: he opens One O'Clock Jump with a long and powerful solo. As I'm not in home I can't give details, but I promise to give them tomorrow.



* * *


Posted By: José Domingos Raffaelli

Date: Tuesday, March 27, 2001 at 10:27 a.m.

In Response To: Jazz on film (Judith Schlesinger)


> Hi all,

> Given that this is Oscar weekend, I was thinking about films

> that have had a jazz score. Any winners in that bunch?


I can recall the French movie "Liaisons Dangereuses" with music by Thelonious Monk, The Jazz Messengers and another group with Barney Wilen, Duke Jordan and Kenny Clarke. From the very beginning, still in the credits, the movie begin with Monk's "Crepusculle with Nellie".

Another French film titled "Les Femmes Disparaissen" presented music by Kenny Dorham, among others.



* * *

Hi Neil:

Wonderful! For the very first time I'm seeing pianist Luiz Eça mentioned in a thread. Luiz was the most influential modern pianist in Brasil. Matter of fact, [the] Brasilian piano story is divided before and after Luiz Eça. He was a classical trained pianist who played every style of music - from Chiquinha Gonzaga (one of the earliest influences on Brazilian music from the 19th century) to jazz, popular music and classical. He had a vast musical knowledge and also was an arranger of first water. His record "Luiz Eça & Cordas" ("cordas" means strings) always has been a reference for all local arrangers. He also composed many songs, most of them are still played. He was a great talker and when the subject was music he could talk all day and night.

I remember when Bill Evans played here for the last time, in September 1979, Luiz was warming up with Marc Johnson and Joe LaBarbera one hour before Evans concert. Bill was watching him in the back of the stage. I was at Bill's side and he was really enjoying Luiz fluency and well developed ideas. When the trio finished playing Bill embraced Luiz and said: "Now I know why only you could wrote The Dolphin".

He was a dear friend of mine and his sudden passing in 1992 was a shock for everyone involved in music in Brasil.

Thanks for mentioning Luiz Eça.


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