18-January-1999 -- Matti Penttilä writes:

In 1960's there published a series of books called "Jazz Records 1942-1964" compiled by Jorgen Grunnet Jepsen. That series was started from volume 5 and after Volume 8 it went to Volume 1. I have many volumes and now I wonder if you know how many volumes were published and if they are available somewhere? In the mid-50Žs Chico Hamilton had the Chico Hamilton Quintet with Buddy Collette and Jim Hall. Pacific Jazz released their recordings. I am interested in a recording that include tunes like "TakinŽ a Chance On Love" and "Sleepy Slept Here". Do you know if this record is ever reissued on CD or available on vinyl?

Matti, we managed to pull together all of our resources and answer both of your questions. According to the Jazz Research section of the University of Oregon's Knight Library Jazz Records, 1942-1965: a Discography by Jorgen Jepsen was comprised of eight volumes, all of which are no longer available. Other sources on the Internet tout this collection as one of the most thorough references for the period it addresses.

Regarding the Chico Hamilton Quintet recordings, they are available in a limited edition from Mosaic Records (http://www.mosiacrecords.com) under the title The Complete Pacific Jazz Recordings of the Chico Hamilton Quintet. It is a six-disc set and sells for $96.00. Many members of the AAJ staff own Mosaic sets and they are thought to be uniformly fine releases.

06-January-1999 -- George Klabin writes:

Dear Mr. Ricci,

I just read Fred Jung's interview with Les McCann, and his statements about the "How's Your Mother" CD which was just released on 32 Records.

I am the "guy" who recorded this music, and who subsequently offered a license to Joel Dorn at 32 Records to release it. I am afraid that poor old Les has suffered some loss of memory, perhaps due to his stroke. Here's the true story:

When I was 19 years old, in 1965, I was a student at Columbia University in NYC, where I quickly became the director of jazz programming for WKCR-FM. I was introduced to Les's music on World Pacific/Pacific Jazz and played it regularly on my various jazz shows. One time he was playing in town and I had him up to my dorm room for a taped interview, which I still have (and can send you a copy of if you like). I would regularly attend Les's club appearances in NY, since I loved his playing (so much so that it has been a major influence in my own jazz piano playing).

During this period (1964-1969) I was becoming known for bringing young great jazz musicians to Colunmbia's Wollman Auditorium to record them for my jazz shows. I wanted to present music that nobody else had (ie that was not on record). The musicians loved it because they got a tape they could use for demos, etc, and of course a radio appearance as well. I kept the masters, but NEVER released any of them without specific permission from the musicians. AFter a while, I became friendly with many of the now great jazz stars such as Roger Kellaway, Herbie Hancock, Freddie Hubbard, Gary Burton, Keith Jarrett, and many many others. I was soon being asked to record jazz live, in concert, and at clubs. I bought my own remote recording setup, and I was becoming a pretty good engineer. I would carry my Crown 20-track stereo recorded, Ampex mixer, and 6 mikes all over the city. After a while I was actually getting "PAID" to record musicians. One of my first concert for-money recording gigs was recording Charles Lloyd's group, and Don Heckman (yes he used to perform) in concert at Judson Hall. I also did Albert Ayler at the Fillmore Auditorium, and I ended up doing a lot of recording at the wonderful Village Vanguard. In ALL cases I was permitted to record by the musicians, who were always happy to get a good sounding tape from the sessions.

Over those wonderful mid-1960 years I recorded Keith Jarrett, Gary Burton, Bill Evans, and others. My most memorable recordings include the unreleased Mel Lewis-Thad Jones Big Band, live on OPENING NIGHT (I mean the very very first night they ever played in public, in early 1966, at the Vanguard). I also have tapes of a second sesion in March 1966. I have enough material to make a wonderful double album. The sound is excellent. It feels like you are sitting right in the middle of this great band. You can imagine the excitement the first night, when everyone wanted to make a great impression. Greats like Eddie Daniels, Jerry Dodgion, Hank Jones, Richard Davis, Mel and Thad, all playing their best! This is exciting stuff and I need to find someone out there who is willing to put this out, and pay the musicians (and some estates, I am afraid).

I also have unreleased live recordings of Bill Evans Trio (1967), Keith Jarret, Gary Burton group with Larry Coryell,and a few others. None of these will see the light of day without the musician's permission, and payments. That's why they are still in my "can". I have transferred them all to digital, and I can say that the sound on all of them is remarkable, espeically for that time, and the limits I was placed under by having just a few mikes, a mixer with no pan pots, and direct to 2-track.

Getting back to Les, in 1967, I heard he was playing in July at the Vanguard, and asked him for permission to record his group. He happily granted it, knowing the tapes would be broadcast on WKCR-FM. So I set up my mikes and recorded on that hot sunny July day, and he has simply forgotten the relationship we had regarding that recording. I am happy to say that it was great music, and great sound, and I am very glad that it was finally released after 30 years. On that same afternoon, Gary Burton was playing, so he allowed me to record his group as well, and I have some superb material. Larry Coryell was in great form, as were Steve Swallow and Bobby Moses. This is a set that should also be released because the days of that group, and sound, are long gone. I am waiting and will only release these under the correct circumstances with permission and contracts.

Here's a funny coincidence. About two years ago I was having dinner with a woman named Diane Severino, who owns a Pilates Studio in L.A. which my wife attends. This was our first meeting and I asked her abut her past life. She told me she had been married to the late Frank Severino, the drummer. Immediately the Les McCann session on July 16,1967 came to mind, and I told her I had recorded her husband with Les on that date. To my utter surprise she said "That was my birthday, and I was there!" Small world......

Well, anyway, I would like you to set the record straight regarding the McCann recording. Also, if you know any companies that might be interested in releasing some of my treasure trove of great unreleased 1960's jazz, let me know. The artists once again:

Bill Evans Trio Live at the Top of the Gate, 1967 Bill at his best, with Eddie Gomez and Marty Morrell.

Mel Lewis-Thad Jones Band, Jan 66 and March 66, including the first time ever they played in public!

Gary Burton Quartet Live at Village Vanguard July 16, 1967 with Larry Coryell, Bob Moses, Steve Swallow

Keith Jarrett live at Vanguard, and also some tio recordings at Wollman Auditorium, NYC mid-60's

Scott LaFaro, with Don Friedman (This was licensed by Don and myself to a tiny Japanese label in the 1980's but never in the USA)

I have also just produced a new Roger Kellaway Trio CD, entitled "Timepiece", with Bob Magnuson and John Guerin (plus one cut duet with Robben Ford, guitar) As you may know, Roger has not recorded many trio albums. This is easily the best one he ever did.

I am not actively involved with jazz. I have another business. I owned Sound Ideas Recording Studios in NYC from 1969 to 1981 and recorded many jazz LP's, including Dexter Gordon, Chet Baker, The Brecker Brothers first album (mixed), Art Blakey, many Denon PCM Digital recordings in the late 70's (pre CD), and too many others too recall.

04-January-1999 -- Deneicy@aol.com writes:

Does anyone know the origin of the word "jazz?" I have a bet with a friend who insists it derives from the word "jizz," slang for male ejaculate. My preliminary research suggests some undisclosed "debate" about the origin, but it first appeared as "jass," possibly French Creole.

Happy New Year, Deneicy@aol.com, you are today's winner. Go to your friend and collect what money he/she owes you. Len Lyons in his book The 101 Best Jazz Albums offers these possibilities:

"...It is commonly accepted among scholars that jazz in the early 1900s referred to sexual intercourse, although no concrete documentation of its use in this sense has turned up. The word appeared in print for the first time in 1913, when it was mentioned rather innocently by an editor of the San Francisco Call, a black-owned newspaper. It caught on as a musical label when the Original Dixieland Jass Band, a white group, used it on the first "jass" record in 1917...Jass has also been identified as an Elizabethan slang term meaning 'to do things with gusto and enthusiasm."

Lyons continues with additional speculation, but for your wagering purposes, we suggest that this is enough for you to collect your bounty. Thanks for reading and inquiring.

04-January-1999 -- Jeff Phillips writes:

Being the owner of nearly every Oscar Peterson recording, I can tell you that Oscar as an accompanist is nothing short of brilliant when he is placed in the right setting. The recording he did with the Singer's Unlimited, In Tune, is a fine example. Also, Trio Plus One with Clark Terry stands out. There is a recording from the middle to late 50's of Oscar and Ella doing Lush Life that is so utterly un-Oscar that you would swear it is someone else. There are alot of examples. The best ones are usually his group backing up a "guest" artist. Anyway, I liked Michael Bailey's review and I am going to go out and get the CD. I was lucky enough to have played with Buddy DeFranco about 10 years ago when I was still in college, so I am a fan of his also.

04-January-1999 -- Arthur Heriot writes:

Regarding Ed Cherry A Second Look. I'm trying to locate either "Groovin High" records or RTE records. Can you tell me who is the US distributor for these labels? Or is there a US contact for these labels?

Arthur, we had no luck searching the Internet for any specific information about Groovin' High or RTE records. However, we found Ed Cherry's A Second Look on RTE records readily available at CD Universe (http://www.cduniverse.com), CDNow (http://www.cdnow.com), EVERYCD (http://www.everycd.com), and Amazon (http://www.amazon.com). Thank you for your question and please continue reading All About Jazz..