Jazz for aficionados

pjw
  the seven Cuts listed on your seven song version are the ones on my first LP. in the liner notes it states that those seven Cuts were the original ones issued when the album first came out a time and a place.
 on the 8th song version you listed the cut Far away lands is not included anywhere on my double album.

My second album includes three additional live cuts blue bossa is that so and Dailey Bread. It also includes two more Studio cuts satin doll and Misty

  my album is listed as being recorded at the Museum of Modern Art. I believe Columbia screwed up on the recording date and the personnel

nsp 

I think you have a rare album. I think the first LP is with the dubbed over applause and the second LP is 3 live tracks recorded at the Museum Of Modern Art plus 2 additional studio tracks.

Anyway if the music is good does all this really matter?

Maybe your double LP is a collectors item.


JMHO

We don't need no stinkin' Bass Clarinet.

https://www.youtube.com/watch?v=p-b6I1ihh2s

Cheers

That’s my good friend Dr. Paul Cohen. I posted that clip a while back in (I think) another thread (maybe here?). During the ‘20s there was literally a “saxophone craze” in this country with a huge variety of different saxophones manufactured for a public that just couldn’t get enough of the saxophone. There probably wasn’t a Vaudeville act that didn’t feature at least one saxophone player and most families had a member who played the saxophone. Most of those saxophone variants would be obsolete within a couple of decades.

**** I find a connection between some Middle Eastern instrumentation/melodies and jazz. ****

Without a doubt, pryso; great observation. The subject of one the great early “bruhaha’s” (to quote our OP) here. The connection is undeniable and well documented; unless, of course, there is some other agenda at work which tries to invalidate or deny the existence of cross-cultural influences in the arts.

One of the most obvious “instrumentation” examples is the guitar, the classic Blues instrument which had its roots in the Arabian “Oud”. The Moors controlled Spain for centuries and the Spanish and French influence is well established in New Orleans.

From none other than Jelly-Roll Morton himself:

“Then we had Spanish people there. I heard a lot of Spanish tunes. I tried to play them in correct tempo, but I personally didn’t believe they were perfected in the tempos. Now take the habanera"La Paloma", which I transformed in New Orleans style. You leave the left hand just the same. The difference comes in the right hand — in the syncopation, which gives it an entirely different color that really changes the color from red to blue. Now in one of my earliest tunes, "New Orleans Blues", you can notice the Spanish tinge. In fact, if you can’t manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz.”