on 1/20/01 7:11 AM, Phil Ford at ford0032@tc.umn.edu wrote
>
> My new thing to be annoyed about: the film clip of Art Tatum is one of the
> coolest documents in jazz history, and they cut it in half in order to show
> .. . . some more black-and-white stills.
>
> Phil
I haven't watched much of this series either for the same reasons that have
been stated-so I missed this film clip and am wondering where I could see it
in its entirety?
Christine
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Date: Sat, 20 Jan 2001 16:43:46 EST
From: Dlsmay@aol.com
Subject: Re: (exotica) Ken Burns Jazz saga displeasure continues
I had to laugh when they insinuated that Louis Armstrong single-handedly
decided Brown vs. the Board of Education AND inspired the Heisenberg
Uncertainty Principle.
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Date: Sat, 20 Jan 2001 14:21:27 -0800
From: "F. Cobalt" <fcobalt@lycos.com>
Subject: (exotica) Jazz: Mom's Doing It Too
>To me the supreme figure in jazz history is John >Coltrane. No one else
>even comes close.
>I'm sure he'll be in there but obviously he's not >going to get much time.
>In my pantheon, there's a few figures tied for second >place. One of them is
>Eric Dolphy. I've heard he doesn't get mentioned at >all.
>
>Everywhere I go, I see those Ken Burns Jazz CD's. >For a lot of people, his
>version is now the official version.
>It's shameful.
>
>AZ
Well Alan, after trying to tell me once that crime jazz isn't jazz, we do agree on a number of things in the end here. Coltrane -- what would I do without my Coltrane? I can't imagine. I do however think that Miles is crucial in a few developments in jazz history, namely in terms of improvising, but he's not my favorite. I can see his value and people should understand it regardless. My friends and I have a joke about "Bitches Brew". We like to call it "My First Miles", and imagine a redesign of the art that makes it look like a kid's record, because it seems that lots of people get into it in college, like if they hear no other jazz, they hear that record and own copies of it.
But my larger concern about the series is leaving out valueable people and trends in history because it might be more convenient to do so. I anticipate it being easier to leave out people like Albert Ayler, or somebody like Jack McDuff because they just might not fit so well into a linear narrative of history that is anything but linear. And that means that for all the obsessive focus on one person it leaves out a number of others. True, how could the series cover everyone? No art history book can cover every artist, and so on. I just think that the problem comes in with the tone and the focus, as in, if you want to do a series to merely introduce people to jazz who have no knowledge about jazz, you should just be very general and basic. If you want to thoroughly map out the whole wide history of jazz, you have to be very very attentive to details, and I don't think this is doing that either. So what is it doing? Merely mapping out Marsalis' personal vision at the expense of truth? Or merely creating great opportunities for merchandising? Somehow neither of those lend much room to someone like Alice Coltrane, or John Zorn, and the list goes on, while half the world over can be reminded for the nth time about Miles' "My Funny Valentine" or Ellington's "Take the 'A' Train", in Starbucks or wherever else.
I like to try and be optimistic and hope that this will be a good starting point and that people will take time to explore on their own, that they'll pick up Ornette's "Free Jazz", that they'll make it to Coltrane's "Interstellar Space", that they'll discover the Art Ensemble, or Latin jazz musicians, or better yet, modern free jazz artists, where the spirit of jazz is possibly most alive at this time. But I worry that people aren't curious enough to really explore. And it would be tragic if people just got stuck in the gospel of Marsalis or Burns.
Unlucky
- ---
Mr. Unlucky presents Shoot To Kill, a weekly set of jazz, soundtrack music, Now Sound, and the occasional foray into international territory on Supersphere.com, Thursdays 1-2 p.m. (CST). Many past sets are archived for future listening pleasure.
http://www.supersphere.com
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Date: Sat, 20 Jan 2001 16:30:45 -0600
From: Matt Marchese <mjmarch@charter.net>
Subject: Re: (exotica) Go Ask Alice
"F. Cobalt" wrote:
> Somehow neither of those lend much room to someone like Alice Coltrane
Speaking of the fabulous Ms. Coltrane, does anybody here remember the name of a local quasi-religious television show that she did in LA back in the 70s?
I recall some bluescreen shots of her floating in front of a bizarre psychedelic backdrop, spouting spiritual philosophy, while a band blew freeform behind her.
Someone please tell me that I didn't hallucinate it.
- --
Matt Marchese
"I've been havin' this nightmare.......a real swinger of a
nightmare, too." -Frank Sinatra (The Manchurian Candidate)
At last, lostnevada.com is on the air. if you'd like to see some groovy
photos of Nevada's short past, and its shabby remnants-please visit our
site. Thanks!!! buy us cocktails.
christine
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Date: 21 Jan 2001 23:13:03 -0800
From: bag@hubris.net
Subject: (exotica) Bert
Did Bert Kaempfert do any albums after "Love That Bert Kaempfert"? I count
21 albums released on Decca up to that point. Of course, the Polydor count
may be different (the Decca releases were repackagings of the European
releases). I notice that on LTBK as well as "Hold Me" and "The World We
Knew", Decca parceled out only 11 cuts per album rather than 12 (as was its
practice on previous BK albums).
There are many exotica flavored tunes in his albums, especially in That
Latin Feeling, but in others as well. Also there apparently is some crime
jazz in the original soundtrack to "A Man Could Get Killed" but I don't
have that so don't know if it is really crime jazz or just music in a spy
flick. Of course, many of his originals have become standards.
Byron
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Date: Mon, 22 Jan 2001 02:33:35 -0500
From: alan zweig <azed@pathcom.com>
Subject: Re: (exotica) Bert
At 11:13 PM 1/21/01 -0800, bag@hubris.net wrote:
> Also there apparently is some crime
>jazz in the original soundtrack to "A Man Could Get Killed" but I don't
>have that so don't know if it is really crime jazz or just music in a spy
>flick.
Tastes change and that's the logic behind keeping records even when you
don't like them. Yet. You might someday read about that Bert Kaempfert
record you got rid of and even though you're sure there was no real crime
jazz on it - or anything that was groovy in any way - someone on your list
may say otherwise and then you're going to wish you'd held onto it.
I had that record. There was no crime jazz on it.
(And okay, crime jazz IS jazz)
AZ
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Date: Mon, 22 Jan 2001 11:24:59 -0500
From: nytab@pipeline.com
Subject: (exotica) [obit] Norris Turney
January 22, 2001
Norris Turney, Saxophonist Who Recorded With Ellington, Dies at 79
By BEN RATLIFF
Norris Turney, a jazz saxophonist, clarinetist and flutist who played in the last incarnation of Duke Ellington's orchestra, died on Wednesday in Kettering, Ohio. He was 79.
The cause was kidney failure, said his agent, Russ Dantzler.
As heard on some of Ellington's last recorded works ù among them the "Afro-Eurasian Eclipse," "The Queen's Suite" and "The New Orleans Suite" ù Mr. Turney was clearly influenced by the alto saxophonist Johnny Hodges, whose place he took in the orchestra. His sound was smooth, lyrical, seamless and fluent in the blues. He was also the orchestra's first flute soloist.
Mr. Turney was born in Wilmington, Ohio, and as a teenager was encouraged to play by his parents, who bought him a saxophone at 13 and an alto saxophone a year later. He played on a Cincinnati riverboat while in high school and worked around Cincinnati into his early 20's, when he joined a Midwestern band led by Bill Tye, and later, the more famous Jeter-Pillars Band of St. Louis.
His work in the Midwest, sometimes leading his own groups, continued until 1943, when he played in Tiny Bradshaw's jump-blues band. When the band traveled to the East Coast in 1944, he joined Billy Eckstine's pioneering large-ensemble bebop band.
After returning to Ohio in 1945, Mr. Turney worked with Ace Carter, Elmer Snowden, Charlie Gaines and Bullmoose Jackson, among other bandleaders.
It wasn't until 1960 that he settled in New York, with his wife, Marilee, who survives him. He is also survived by a son, Norris Turney Jr.; two daughters, Olivia and Patricia; and a sister, Mildred.
Mr. Turney had a stint with Ray Charles in 1967, and then in 1969, he landed a job with Ellington and stayed until 1973.
Mr. Turney went on to be a busy freelancer, playing with Broadway orchestra bands, with John Lewis's short-lived American Jazz Orchestra in the late 80's and with the Lincoln Center Jazz Orchestra, which he joined at its inception.
He toured with the Ellington alumni group, the Duke's Men, and made one record under his own name ù his first ù for Mapleshade in 1996, "Big Sweet 'n' Blue," a strong demonstration of full-bodied blues and ballad playing.
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Date: Mon, 22 Jan 2001 11:24:59 -0500
From: nytab@pipeline.com
Subject: (exotica) [obit] Norris Turney
January 22, 2001
Norris Turney, Saxophonist Who Recorded With Ellington, Dies at 79
By BEN RATLIFF
Norris Turney, a jazz saxophonist, clarinetist and flutist who played in the last incarnation of Duke Ellington's orchestra, died on Wednesday in Kettering, Ohio. He was 79.
The cause was kidney failure, said his agent, Russ Dantzler.
As heard on some of Ellington's last recorded works ù among them the "Afro-Eurasian Eclipse," "The Queen's Suite" and "The New Orleans Suite" ù Mr. Turney was clearly influenced by the alto saxophonist Johnny Hodges, whose place he took in the orchestra. His sound was smooth, lyrical, seamless and fluent in the blues. He was also the orchestra's first flute soloist.
Mr. Turney was born in Wilmington, Ohio, and as a teenager was encouraged to play by his parents, who bought him a saxophone at 13 and an alto saxophone a year later. He played on a Cincinnati riverboat while in high school and worked around Cincinnati into his early 20's, when he joined a Midwestern band led by Bill Tye, and later, the more famous Jeter-Pillars Band of St. Louis.
His work in the Midwest, sometimes leading his own groups, continued until 1943, when he played in Tiny Bradshaw's jump-blues band. When the band traveled to the East Coast in 1944, he joined Billy Eckstine's pioneering large-ensemble bebop band.
After returning to Ohio in 1945, Mr. Turney worked with Ace Carter, Elmer Snowden, Charlie Gaines and Bullmoose Jackson, among other bandleaders.
It wasn't until 1960 that he settled in New York, with his wife, Marilee, who survives him. He is also survived by a son, Norris Turney Jr.; two daughters, Olivia and Patricia; and a sister, Mildred.
Mr. Turney had a stint with Ray Charles in 1967, and then in 1969, he landed a job with Ellington and stayed until 1973.
Mr. Turney went on to be a busy freelancer, playing with Broadway orchestra bands, with John Lewis's short-lived American Jazz Orchestra in the late 80's and with the Lincoln Center Jazz Orchestra, which he joined at its inception.
He toured with the Ellington alumni group, the Duke's Men, and made one record under his own name ù his first ù for Mapleshade in 1996, "Big Sweet 'n' Blue," a strong demonstration of full-bodied blues and ballad playing.
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Date: Mon, 22 Jan 2001 09:15:34 -0800 (PST)
From: Jane Fondle <jane_fondle_69@yahoo.com>
Subject: (exotica) Wait Until Dark
No, it's not a request from Jane Fondle! I just saw
that film with a magnificent score by Henry Mancini!
It's fine score with unsual quarter-tones and the
like. I have a bad feeling about this, but was there
ever a soundtrack album for this? If not, is it out on
DVD!
Much love,
Jane
=====
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