• Monk Coltrane Carnegie Hall Rar : Free Programs For Windows 7
• Monk Coltrane Carnegie Hall Rar : Free Programs Free
• Monk Coltrane Carnegie Hall Rar : Free Programs Download

I did a search, and I don't think that there has been a thread on this album yet. I picked this up this week, and all I can say is 'Oh My God.'

I was skeptical of this release, because a lot of legendary 'lost' live jazz dates end up sounding terrible - I'm thinking of the Benny Goodman 1938 Carnegie Hall concert in particular.I don't know who was responsible for recording this, but it sounds incredible. Maybe the best recorded example of Coltrane's tone that I have ever heard. The liner notes mention how the mono recording 'captures the ambience' of the room, a claim that I would usually scoff at, as I'm not a slavish devotee of mono, but in this instance it really is true.Both Coltrane and Monk were at the top of their game on this night. I'm not knowledgeable enough about music theory to back this up, but Monk's playing on this date sounds slightly more conventional and less angular than usual.

Coltrane's playing on this date hits the heights that he hit on Kind of Blue and Giant Steps, imho. He was just completely on top of his game. In the late 90s, I spent a year or two listening to nothing but jazz. I've since gotten back into pop/rock, but this release might push me back into listening to jazz for a while. I am definitely going to check out the other reecent Coltrane reissue of his 60s quartet at the Half Note. John I agree with much you say about this recording. It is most definitely a keeper, a major document in both mens' discographies (and should also rescue the drumming prowess of Shadow Wilson from obscurity as well - damn!).If nothing else this new Monk/Coltrane ought to provoke a serious re-evaluation of just how 'Monkish' a piano player Monk really was.there are many instances here where, if blindfold tested, I would never have guessed Monk in the later part of the 50s was the piano player.

Here, I can see why some people once lumped him in with the 'architects of bop.' Based on what you hear of Monk on piano on this recording, either one of two things must be the case: one, Monk was a man of many musical personalities and simply chose to showcase the angular one to generate an identifiable, marketable character; or two, those who handled him did the same. Or maybe it was both.I'm personally less enamored of Coltrane's playing here than many reviewers seem to be thus far. Yes he's passionate and worth listening to, and yes his tone is wonderful, but I find he says in 20 notes what could have been said in 5 for much of the proceedings. I'm just less and less a fan of his 'sheets of sound' period or whatever it is people are calling the style these days. I think these recordings confirm that around 1957 the club-going world was still hearing a firmly transitional (though on the rise) Coltrane, and it wasn't until several years on, around 1961 and the Vanguard live recordings done for Impulse!, that he had finally found firm footing.

I'm personally less enamored of Coltrane's playing here than many reviewers seem to be thus far. Yes he's passionate and worth listening to, and yes his tone is wonderful, but I find he says in 20 notes what could have been said in 5 for much of the proceedings. I'm just less and less a fan of his 'sheets of sound' period or whatever it is people are calling the style these days. I think these recordings confirm that around 1957 the club-going world was still hearing a firmly transitional (though on the rise) Coltrane, and it wasn't until several years on, around 1961 and the Vanguard live recordings done for Impulse!, that he had finally found firm footing. I have it in vinyl format too - though heard the CD at a friend's house and it's mighty fine.

The record is from a digital transfer - not that I have a major bias about that and to me it sounds wonderful - but just for those who might care.John, I actually tend to agree with you about 60s Coltrane, but only from about 1966 onward. He lost me then. From 61-65, with the classic quartet Impulse! Recordings, I think he peaked (though I'm a bigger fan of Shorter myself even then). I must admit I'm just not a huge fan of some of the wearyingly long live recordings done during the 'classic quartet' period, but in 1961 at the Vanguard he was just on fire and could sustain 12 minutes or more of improvisation at the highest level and then some. 'Chasin' the Trane' anyone?I also really like the Atlantic recordings done right before that period, but again that was a bit later on than the Carnegie live tapes. To my ears, he was getting it more and more down with each passing month during that 1957-60 transition, so by around 1959-60 stuff like GIANT STEPS is mighty, mighty compelling for sure - one of his greatest and the start of the 'firm footing' I mentioned, coming up with the 'Giant Steps' chord changes for example, and a way of soloing over them - but some of the other Atlantics, outstanding in spots as they can be, also at times sound uneasy and like incomplete works in progress.

Hi all,First, Rushton, welcome aboard. I like this recording. One of the best historical recordings of the last while. Coltrane and Monk were at their best here.

The recording is of amazing quality. This should win a grammy for best historical recording/best jazz recording. The Voice Of America jazz archives should be mined and preserved for future generations. We have a set of tapes for this show in our archives at work. They are still in superb shape. We also have more VOA Miles Davis, Charles Mingus, Thelonious Monk, Louis Armstrong, Ella Fitzgerald, Sarah Vaughan, and more. They all are specially recorded for Will Conover's VOA program.

These were also offered for non-commercial usage by educational radio stations on full-track open reel tape free of charge. We have the whole series.

These were offered from 1956 to 1969. I got the Mosaic LP, simply because I had just acquired my first turntable so I was eager to have things to play on it.Coltrane is fine here of course, but I personally burned out on 'Trane during and right after college and I've since found other styles of playing more enjoyable.

Monk, however, I have never tired of and still am as excited about as when I first started to listen to his music.His playing here is simply gorgeous- love the solo intros, the fluidity that he never gets noticed for, and the arrangements.This is the rare release of a 'lost' or big-deal jazz issue that really does add something to the appreciation of iconic musicians even though they have like 7000 albums out there. John, I actually tend to agree with you about 60s Coltrane, but only from about 1966 onward. He lost me then. From 61-65, with the classic quartet Impulse! Recordings, I think he peaked (though I'm a bigger fan of Shorter myself even then). I must admit I'm just not a huge fan of some of the wearyingly long live recordings done during the 'classic quartet' period, but in 1961 at the Vanguard he was just on fire and could sustain 12 minutes or more of improvisation at the highest level and then some.

'Chasin' the Trane' anyone? Click to expand.See, I just can't get into things like 'Chasin' the Trane.' I can get into albums like Meditations and The Olatunji Concert, for the sheer energy of the playing alone.

But sometimes I can't really grasp the basis on which Coltrane is improvising on these 60s albums and live shows. I can follow the 'bop' solos on Giant Steps and the modal solos on Kind of Blue, but on, say, A Love Supreme I can't really follow where he's going or what the underlying logic or structure of the piece is. I've read articles that say the entire structure of A Love Supreme is based on the four-note statement of the 'A Love Su-Preme' theme, and for a while I can sort of follow that, but in the fast movements he just loses me. Ditto with albums like Sun Ship - he sure is playing fast, and it can be viscerally exciting, but what is the basis for his soloing? I just don't get it.

I don't know enough about music to understand what Wayne Shorter is doing on albums like Speak No Evil and Nefertiti, but I sense a structure to that music that I don't sense in much of Coltrane's 60s work. Well good to know the master was analog for the vinyl.although doesn't matter to me at all as I said, had just intended to provide info from the record jacket that I thought was accurate! I have some LPs from digital masters that sound fantastic to my lil' ol' ears.Re: Plinko's sarcastic posting of the 'too many notes' quote from AMADEUS - well, I guess you didn't get what I was saying. It's not the number of notes per se, it's what you do with them. Mozart never wasted a note in his entire career - at least not on any piece I've heard - and that applies whether it's a fast movement with a million notes, a slow movement with 1 or 2, etc. Coltrane blustered a lot around this era, period. Charlie Parker's style was such that playing fast and playing a lot of notes sounded musical and right.I love it, the faster and denser, the better.

Coltrane in 1957 just sounded busy a lot of the time.This is not a stunningly original observation, nothing particularly controversial. Coltrane himself obviously recognized this because a scant 5 or so years later he had really thinned out his playing, simplifying the harmonic movement and taking a much more economical approach.I've listened and relistened and I still think this was still maturing (rather than fully mature) Coltrane captured here. But it's nonetheless a joy to have!

“The Five Spot Cafe wasinitially situated at 5 Cooper Square,New York.The Termini brothers, who were the club owners, relocated it to 2St. The place was small, withtables relative close to one another plus a small stage where the performersdid their act. Musicians performing at the original Five Spot included CecilTaylor and Charles Mingus. Mingus was the one who performed the last gig beforeit was demolished. Five Spot had been a neighborhood bar; it started featuringjazz at the suggestion of other artists as well as poets who were moving intothe nearby apartments during the 1940s. It rose to prominence on the musicscene of New Yorkwhen Thelonious Monk started living near the place; his seven-month gig at theclub was a milestone for both him, John Coltrane and the FiveSpot.”. “Everything they play isexciting, dynamic, sometimes adventurous, and very much in sync.

Monk is havingsuch a good time at the piano that he hardly gets up from the bench. Thestories from the Five Spot in this period always portray Monk as dancing aroundor heading toward the bar while Coltrane blows with the rhythm section. Butwhat Monk is playing underneath Coltrane is pure brilliance; to call it'comping' simply does not do justice to the creative dialogueThelonious is having with the entire band.

“The Library hasbeen systematically process­ing, cataloging, and preserving the Voice ofAmerica Collection for many years. In February of 2005, while thumbing throughsome VGA acetate tapes awaiting digitization, I noticed several reels labeled'Carnegie Hall Jazz 1957.' One of the tape boxes had a hand­writtennote on the back that said T.

Monk' with song titles. When we played it, Irecog­nized both Thelonious Monk and John Coltrane and my heart started racing.I con­firmed with Lewis Porter of The Institute of Jazz Studies that thesetapes had never surfaced or been released in any form. They were indeed thetapes he'd been searching for all these years. Thelonious hadother reasons to be happy.

Here he was, playing his music before an enthusiastic crowd in Carnegie Hall, when justa year ago he was scuffling for work. Indeed, his Five Spot engagement markedMonk's 'return' to the jazz club scene after a six-year hiatus. InAugust of 1951, he was falsely arrest­ed for narcotics possession and deprivedof his cabaret card, a police-issued 'license' required to perform inNew York clubs that served alco­hol. The truth ofthe matter is that his last steady gig was with Coleman Hawkins back in1945-46! The occasion forthe concert, a fundraiser for the Morningside Community Center, also made the evening especiallygratifying for Thelonious. Located on West 122nd Street in Harlem, the Morningside Community Center served some 4,000 mostly black, low-incomeyouth, providing a range of programs including a summer camp, a day nursery,and a men­tal hygiene clinic. Thelonious had a soft spot for these kinds ofinstitutions, having spent most of his youth at the Columbus Hill Neighborhood Center, a youth center located just across thestreet from his house on West 63rd Street.

Thanks to the hard work of the'Friends' of the Morningside Community Center and promoter Kenneth Karpe, the group hadput together several star-studded fundraisers employing the talents of artistslike Lena Home and Marian Anderson. This night was no different. Monk sharedthe stage with Billie Holiday, Dizzy Gillespie and his orchestra, Ray Charles,Chet Baker and Zoot Sims, and 'the brilliant Sonny Rollins.'

Everything theyplay is exciting, dynamic, sometimes adventurous, and very much in sync. Monkis having such a good time at the piano that he hardly gets up from the bench.The stories from the Five Spot in this period always portray Monk as dancingaround or heading toward the bar while Coltrane blows with the rhythm section.But what Monk is playing underneath Coltrane is pure brilliance; to call it'comping' simply does not do justice to the creative dialogueThelonious is having with the entire band.

“Coltrane hadalready performed at Carnegie Hall with Dizzy Gillespie (1949) and Miles Davis(1955); Monk might not have played there before, but he had been at otherhalls. Still, both were far from jaded, and in this evening of sharing the billwith Gillespie, Rollins, et al, the excitement is evident. At the start, Monkis flying all over the keyboard on 'Monk's Mood.'

When Trane enters,his tone is captured beautifully, and one can hear the ambience of the hall.The second set, by con­trast, has a real 'late show' quality — thereis an audibly smaller audience, and the quartet stretches out with longer solosand a more relaxed feel. (There are no bass or drum solos in either set, so asto keep things within the allotted time.) This is a working band, com­fortabletogether (they had been at the Five. That enables us toplace it in context among other recordings from the time — for example, itfollowed Blue Train from September 15, 1957 and preceded Davis 's Milestones LP from February and March1958. Coltrane, who felt liberated playing with Monk, double-times incessantly(the 'sheets of sound' noted by Ira Gitler ), often playing fast scales. The runswould become more complex throughout 1958, after which he dropped the'sheets' and moved on to other things.

Two of his favorite patternsappear in nearly every solo here. One, his descending diminished pattern (p.134in my book), forms the basis of his opening cadenza on 'Monk's Mood'( 1:56 )and appears, for example, three times between 1:46 and 2:00 on the first 'Epistrophy.' Theother, which Jimmy Heath pointed out (p.67), appears often in'Bye-Ya' ( 1:20, 1:26, 1:29, 1:47, 1:49, 2:56 ). Bits of Coltrane's past survive here:few people real­ize that Coltrane absorbed some ideas from Paul Gonsalves whenboth were with Gillespie, and perhaps that influence can still be heard in twoplaces ('Bye-Ya' 1:35; the second 'Epistrophy' 1:46) — by1958 it was gone. The future is coming through here, as well. At 2:27 on 'Nutty,' Trane plays astriking lick that. About Monk — Iwonder if it ever has been so clear just how outrageous he was — check out'Crepuscule with Nellie,' especially the ending, and try to imaginehow it would have sounded to you, in that hall, almost 50 years ago.

Also dighow Monk fits in a lick from '52nd Street Theme' just after Traneenters ( 2:28 )!And how about his 5-bar intro to 'Sweet and Lovely'?! Since I firstcame across references to this taped event in 1996, I'd been inquiring at theLibrary of Congress in hopes that it would turn up — and it fully lives up toexpec­tations! It was always likethat.

Thelonious Monk was the grand thinker of the World War II gen­erationthat invented bebop, but he was not a bopper though his knowledge had beenessen­tial to what both Charlie Parker and Dizzy Gillespie, the twinfountainheads of that age, brought to the bebop style. While Monk mademarvelous recordings for Blue Note at the end of the forties and in the earlyfifties, his impor­tance was beyond that of a signal composer for small bandsand a piano player second to none in his originality. I submit that Monk wasalso the greatest influence on the thinking of most major jazz musicians sinceCharlie Parker.

It seems veryobvious, in reflection. His sense of abstraction, of reducing things to theirstartling essences was fundamental to Miles Davis, who began to believe thatless is more, which was quite a rejoinder to the bebop idea that more is more.Sonny Rollins has referred to Monk as his guru and we have no doubt thatRollins gathered the thematic conception of improvising from him. JohnColtrane's vision of modality might well be rooted in the fact that Monk wouldprovide him with hours of exam­ples of what could be done with a single chordif a question about one chord was asked by the saxophonist. It is also obviousthat the learning of Monk's 'Trinkle, Tinkle' so revolutionizedColtrane's rhythmic and phrasing style that its impact remained with him untilthe end of his life. Deep students of the music say that Wayne Shorter'sharmony is built upon Monk's, and there is little doubt that the thematic wayin which Ornette Coleman approaches his music is another variation on Monk'sdecided use of thematic elements in his improvising as opposed to chord-runningarpeggios that make no references to the theme at hand.

I think that settlesthe question. All of that addsup what you have in your hands, which is the second discovery of Monk andColtrane in performance that Blue Note has presented to the world. Johnson, oneof the supreme intellectuals of the bebop generation, found the combination themost exciting thing he had heard since Parker and Gillespie appeared in themiddle forties, and the critic Martin Williams was ecstatic about the qualityof the playing. Many bemoaned the fact that the group was not recorded, thougha few selections appeared years later that were done in the studio but, some said,lacked the spark of the evenings at the Five Spot. Then a set of the band atthe Five Spot in September of 1958 appeared. Coltrane was subbing for JohnnyGriffin who had replaced him when he returned to Miles Davis's band.

That setwas profoundly exciting and had the new rhythm section of Ahmed Abdul-Malik onbass and the drums of Roy Haynes. Now we hear three quarters of the originalband at Carnegie Hall in the winter of 1957.

After almost fivemonths of work, playing three or four sets a night to listeners, musi­cians,writers, artists, and aesthetes in the little bar room on 5th Street and the Bowery, every­one was technicallyassured and the pianist and the saxophonist are almost brazenly adventurous.Monk sounds especially happy to be playing a piano beyond the saloon keyboardsthat jazzmen were faced with for most of the music's life. It is also clearthat he and his men are not there to toy around because the opening piece,'Monk's Mood,' has a somber, elevated seriousness equaled only by thedark, gloomy, and inscrutably high-minded lyricism some­times heard in DukeEllington and Billy Strayhorn. The piece is as perfect for Monk as it is forColtrane, who was never less than ardent. 'Monk's Mood' is one of themost strik­ing ballad statements ever made in the music and it is wonderfullyrecorded. I have longthought that there must have been a special affinity between Monk and Coltranesince both were from North Carolina and represented in very different ways, ashave almost all important jazz musicians, the com­bination of high intellectand country soul.

Nearly all of the greatest are men and women from thecountry, either below the Mason-Dixon line or from the Midwest if not the southwest, which is why the blues and blues feelinghave always been so essential: they are connectives that speak to the rural andurban underpinnings of the art. The complex mystery of the urban night ofconcrete and artificial light meets the enigma of the Arcadian dark­ness, wheretales true or tall of dragons beneath white sheets, ghosts and spirits seem toloom as strongly as the legends shielded from view by the architecture of thebig city. In Monk andColtrane we also have an oddly fruitful combination. Monk had always been anatural, superior talent, often winning talent contests at Harlem 's Apollo when he was a youth.

Monk Coltrane Carnegie Hall Rar : Free Programs For Windows 7

Though BennyGolson and Jimmy Heath would strongly disagree, the early Coltrane of legend seemed to most a journeyman atbest. What gives his tale particular heroism was Coltrane's discovery that histalent was much harder to reach than that of pure naturals like Armstrong,Young, Parker, and Rollins, all of whom had to work hard but each of whom foundhis gift much more quickly, not that far below the surface. Coltrane isabsolutely unique in jazz history. He had to dig deeper, and only a man ofradiant will could have achieved what he did. Coltrane's determination demandedthat practice become an ongoing obsession.

That constant practicing and study­ingis not legend. It so formidably reshaped his skills and his understanding thatthe saxo­phonist appeared to almost suddenly stand up to the best men of hismoment. The thoroughnessof Monk's self-confidence on the levels of melody, harmony, timbre, and rhythmcombined with Coltrane's fervor created a monumental fusion of intellect andsoul that was paced and abetted by the swing of Malik and the superior styleand dynamics of Wilson, which is a revelation it itself. Here they address allof the fundamental moods and grooves of jazz: the blues, 4/4 swing, the ballad,and Afro-Hispanic rhythms. Through them, once again, we are made witness to theepic contribution that jazz made to Western musical performance. We hear thatthe present moment of improvisational creativity can be as timeless and as refinedas any polished cre­ations from the great past.

As this recording proves,Thelonious Monk and John Coltrane, above all else, are as central to that factas every other titan of the jazz idiom.”. I've stoppedscratching my head, helped by immersing myself in the two sets by Monk andTrane and their Five Spot regulars of the time, Ahmed Abdul-Malik and ShadowWilson. In the 1955-57 period there were two clubs that were particularly favored:Cafe Bohemia and the Five Spot Cafe. The Bohemia got hot quickly when it opened in 1955,especially after Cannonball Adderley, fresh up from Florida, created a stir when he sat in with OscarPettiford's group. In 1956, I was there three times a week when the Miles DavisQuintet was in residence. I had been to theFive Spot before 1957, but when Coltrane joined Monk I was there three times aweek.

Joe Termini began a music policy because he was bored with merely playingScrabble every night from behind his beer taps with his clientele, painters whowere soon to become famous in the area of Abstract Expressionism. Many of themwere into jazz and encouraged Joe. Dick Wetmore, talented on both violin andcornet (shades of Ray Nance), was one of the early players at the club. In '56David Amram and Cecil Taylor began gigging — Steve Lacy was in the picture, too— and this carried over into '57. Esquirecovered the scene and new audiences drifted downtown to check it out. Monk with Tranereally put in on the map — 5 Cooper Square ( 3rd Avenue ) between 4th and 5th Streets, to be exact.It was an elemen­tal place; store front where you might see a Bowery bummugging if you looked out through the plate-glass window; tables to your leftas you walked in, until you arrived at the band­stand; more tables in front ofthe stand, an aisle, and a bar against the right wall, its stools also facingthe bandstand; then tables curving right to the back. There was nothing fancy:low-wattage lighting and a funky men's room to the right of the bandstand.

Themusic was all. After a theme was introduced, Monk would comp for Trane for acouple of choruses and then get up from the piano and turn him loose whiledancing his elbow-led stutter-steps near the stand before returning to thepiano for his solo. Johnson, in 1961, told me, 'Since CharlieParker, the most electrifying sound I've heard in contemporary jazz wasColtrane play­ing with Monk at the Five Spot. It was incredible, like Dizand Bird.' Now, almostmiraculously, we have these two Carnegie Hall sets, when that august hall'sacoustics were all-purpose. Coltrane soars, Monk is in top form on a fine piano(notice his quick insert of '52nd Street Theme' in the melodystatement of 'Crepuscule with Nellie' and a snatch of 'OffMinor' in his 'Bye-Ya' solo); Abdul-Malik supplies a steadybottom; and Wilson, a musician's musician, does what he always did: apply hisgreat skills, aptly, for any group of which he was a part — in this case a veryspecial one.

During thattwelve-month period, Coltrane's penchant for compulsive practice on his hornyielded the first phase of his signature style: slaloming through harmonicchanges, playing and replaying scalar patterns, in a creative out­pouringcritic IraGitlerfamously dubbed 'sheets of sound.' Coltrane's workaholic nature alsoyielded a bumper crop of recordings, including his debut as a leader ( Coltraneon Prestige), the classic Blue Train album (his sole sessionfor Blue Note), and as a sideman on seven other recordings. His return to freeagent status after his firing from Miles Davis's quintet in April of that yearallowed him to pur­sue any and all projects at will, to envision life as aleader in his own right, and — most sig­nificantly — to bring his drugaddiction to a cold-turkey end. Monk's patiencehelped Coltrane grasp material unusual and refreshing. Where Davis had favored blues, ballads, and bebopworkhorses, Monk's songbook of originals — 'Epistrophy,' 'Ruby,My Dear,' 'Trinkle, Tinkle'—was riddled with strange melodicleaps and unexpected rhythmic shifts. It was challenging territory thatintrigued the saxo­phonist and appealed to his sense of order. As Coltrane's playingreflected a love of musical logic, blowing solos based on repeated andreconfigured patterns, so the pianist's composi­tions revealed a passion forinternal structure that followed precise and playful rules.

Monk's structureslaced with Coltrane's frenetic deliv­ery sounded a good match. Talk about a raremoment within an ail-too brief overlap! Coltrane was weeks away from rejoining Miles,with whom he would soon pur­sue modal pathways and record the master­piece Kindof Blue.

Bassist Ahmed Abdul-Malik had replaced Ware. In the mere 51min­utes of the group's two sets that evening, one can glean the inevitabilityin the Monk-Coltrane union: their appetite for reinventing old with new,shifting rhythms (check 'Sweet and Lovely'!). Their adoration of ArtTatum arpeggios. Their complementary solo styles — breathless vs. Halting,fluid vs. Staccato — and both melodically inventive to an extreme. There’s a difference between understanding something and accepting it.

When you play Jazz, you can copy those who most impress you on your instrument, but at some point you have to step back and accept what you can do in developing your own style on the instrument. This doesn’t mean complacency. You should continue to practice and try to improve your skills.

The more technical mastery you have the easier it becomes to free your mind to invent your improvisations. Also important is the lesson contained in the following excerpt from George Shearing’s autobiography: “.becoming a jazz pianist with some direction about what your style is going to be.

That involves thinking about who you're going to follow or how you're going to develop a style of your own, and from what grounds.”. Willis Conover (1920-1996) was a jazz producer and broadcaster on the Voice of America for over forty years. He produced jazz concerts at the White House, the Newport Jazz Festival, and for movies and television. Conover is credited with keeping interest in jazz alive in the countries of eastern Europe through his nightly broadcasts during the cold war when jazz was banned by most of the communist governments. Conover was not well known in the United States, even among jazz aficionados, but his visits to eastern Europe and Russia brought huge crowds and star treatment for him.

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The Digital CollectionThe UNT Digital Library contains a small selection of program lists, recording schedules, and promos that come from a much larger collection of Conover materials available in tangible form at the UNT Music Library. The Physical CollectionA 1997 gift of the Willis Conover Jazz Preservation Foundation, Inc., the physical collection consists of over 22,000 recordings of all kinds, correspondence, memos, magazines, record catalogs, manuscripts, program notes, memorabilia, photographs, books, and other personal items. Many of the recordings and books are being added to the regular collection, cataloged in the UNT Libraries' online catalog, and allowed to circulate. The archival and historical material will be made available as special collections.For more information, including inventories of circulating recordings, please see the UNT Music Library's page. “Jazz musicians are their music.

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Absent that, they're just people making a living, eating meals, paying bills — no different from cops or politicos. But that's just the point: the music can't be subtracted: it's the defining essence, which sets musicians apart, makes them special and ultimately a little mysterious.

Makes their various complexes and misbehaviors interesting to writers, chroniclers, fans. Would British writer Geoff Dyer, for example, have found Bud Powell, Charles Mingus, Art Pepper, and the other walking pathologies celebrated in his BUT BEAUTIFUL (Farrar, Straus, 1996) so fascinating had it not been for the music they made? Subtract the music and you have just another chronicle of aberrant thought and behavior. In a review of his book, I wondered whether Dyer would have been similarly drawn to musicians such as Henry “Red” Allen, Dizzy Gillespie, and Red Norvo, no less brilliant, who seem to have led balanced, eminently non-neurotic lives.”. Hi Steven, You don't know me - and I don't really know you, but I’ve been enjoying your Jazz Profiles blogspot for some time now.

(Specifically the recent Roy DuNann piece.) So first of all: thanks for that! Secondly, the reason for me writing you is that I’ve been quite busy organizing my jazz collection and have compiled and uploaded a handful of homemade radio shows on the podcast platform Mixcloud. Initially this was a project intended for Izaak, my son, who’s only two years old right now, but I think they’d be quite interesting for any true classic bop and hard bop jazz lovers.

Problem is; nobody's listening to them. I thought, if you shared my enthusiasm, they perhaps could be linked somehow to your blogspot.

But only if you think that’s appropriate. Two important notes: 1: there’s absolutely no commercial incentive involved here 2: the podcasts are a hundred percent non stop music, so no talking, jingles or add’s etc. Check them out, if you have the time. Right now there are five compilations, each one focussing on on a major jazz label, so there’s Prestige, Blue Note, Savoy, Riverside and Contemporary for now. Ok, so that’s basically it. Thanks for taking the time and let me know what you think. Kind regards, Geugie Hoogeveen the Netherlands.