Last time we looked at some details of the famous Bird and Diz “Hot House” TV performance, which was discovered by the late jazz film collector David Chertok. And we learned that, sadly, every copy online has some very bad and distracting splices. But today, in honor of Bird’s birthday (August 29, 1920) you will see a nice copy with no splices. I will add to that two very short clips that provide additional material for the introduction and ending. So, we will watch the complete film in three pieces, but the bulk of it is in the uninterrupted middle section. First, the introduction has never been online—all copies are missing just a few words. This version comes to us from the current owner of the
It sure sounds to me like Earl Wilson, not Leonard Feather, at the end.
I’ve always noticed the glowering look Parker appears to be giving Wilson (more noticeable when the clip is brighter). But now I also notice that Wilson calls Feather "my boy" too.
Thanks Michael--that makes sense that it would be Wilson. I'll listen again and fix it if called for. In the next post I'll discuss Parker's expression in detail. And yes, I have mentioned (I've already written my next post) that he calls Feather "my boy." THANKS MICHAEL
Watching/listening to historical audio and video from the '40s and '50s, I've heard a lot of the use of "boys" to describe members of white bands. Born in '41, I often heard my Dad talk of "going out with the boys" on Tuesday nights.
Yes, those dropouts really ruin it, for me. Nice to see it without them. But only the beginning and end are from Mark. The rest--the body of the clip-- is from my Japanese edition. THANKS THOMAS.
I commented a day or so ago, but don't see it, so will try to remember what I said. :) I was disappointed by the extensive video processing that turned the image into something approaching "available darkness," but pleased by the audio, which was sort of OK for a kine in those days, and when American broadcasters were extremely clueless about jazz. I also concur with Lewis's observations that Diz is taking the lead, and the guys following him, in a manner that made it clear that these old pros were very sensitive to sophisticated production values. Lewis also observed this in an Art Ford broadcast that included Pres and Charlie Shavers. I worked briefly as an intern in small town TV around 1960, later in Chicago in some large productions. I also worked as a photographer in the Civil Rights Movement, where mentors taught me a lot about printing my work so that images of Black folks were well reproduced in print media. Whoever did the video signal processing didn't get that mentoring. :)
Great to see these together.
It sure sounds to me like Earl Wilson, not Leonard Feather, at the end.
I’ve always noticed the glowering look Parker appears to be giving Wilson (more noticeable when the clip is brighter). But now I also notice that Wilson calls Feather "my boy" too.
Thanks Michael--that makes sense that it would be Wilson. I'll listen again and fix it if called for. In the next post I'll discuss Parker's expression in detail. And yes, I have mentioned (I've already written my next post) that he calls Feather "my boy." THANKS MICHAEL
Watching/listening to historical audio and video from the '40s and '50s, I've heard a lot of the use of "boys" to describe members of white bands. Born in '41, I often heard my Dad talk of "going out with the boys" on Tuesday nights.
True--thanks Jim!
Great, Lew. Who are the drummer and bassist?
Sandy Block (b)
Charlie Smith (d).
Smith was left-handed, so his kit and hand grips are mirror images of most drummers. The film here is correct.
Thanks Thomas. Yes, I'll be discussing them in the next post. I might add their names to this one too.
Wow. I had a copy of this version on Beta. It was not the equal to Mark Cantor's copy, though. Lots of video dropouts in my copy.
Yes, those dropouts really ruin it, for me. Nice to see it without them. But only the beginning and end are from Mark. The rest--the body of the clip-- is from my Japanese edition. THANKS THOMAS.
I commented a day or so ago, but don't see it, so will try to remember what I said. :) I was disappointed by the extensive video processing that turned the image into something approaching "available darkness," but pleased by the audio, which was sort of OK for a kine in those days, and when American broadcasters were extremely clueless about jazz. I also concur with Lewis's observations that Diz is taking the lead, and the guys following him, in a manner that made it clear that these old pros were very sensitive to sophisticated production values. Lewis also observed this in an Art Ford broadcast that included Pres and Charlie Shavers. I worked briefly as an intern in small town TV around 1960, later in Chicago in some large productions. I also worked as a photographer in the Civil Rights Movement, where mentors taught me a lot about printing my work so that images of Black folks were well reproduced in print media. Whoever did the video signal processing didn't get that mentoring. :)
Good points Jim--THANK YOU!