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Evan Mahoney
May-09-2008, 10:58pm
Does anyone have a clue how to track down the correct sound recordings based on information like "verve 8010?"

JEStanek
May-10-2008, 9:31am
I Googled Charlie Parker Verve 8010 and found this site (http://www.jazzdisco.org/bird/cat/) (for example) with a sublink to more detailed info on the album (http://www.jazzdisco.org/bird/cat/a/#verve-mgv-8010). The Album is called Swedish Schnapps. There were copies on e-bay. It's mono. The second linked page has who played and when/where it was recorded.

Amazon has several copies (http://www.amazon.com/s/ref=nb_ss_gw?url=search-alias%3Daps&field-keywords=Swedish+Schnapps&x=0&y=0) listed.

If you're looking for masters have you tried contacting Verve Music Group? (http://www.vervemusicgroup.com/vault/)

Jamie

Bruce Clausen
May-10-2008, 11:23am
That discography is a great resource. It looks like Verve 8010 was a reissue combining tunes from a Jan. 1951 session with Miles and an August 1951 session with Red Rodney. For several of the tunes the album gave alternate takes as well as the issued version. Of course almost all of this material has been reissued many times since. I have the 10-CD Membran set, a very cheap box that is probably still available. It gives no discographic information at all, not even personnel. But if you can hear the difference between Miles and Dizzy and Red, or between Kenny Clarke, Max Roach, and Roy Haynes, you can use the discography to work out which cuts came from which sessions. I don't know how many of these cuts found their way into the Omnibook (I see a few on disc 9 that must have been on Verve 8010), but in any case it's a great collection of recordings.

BC

Evan Mahoney
May-11-2008, 11:11am
Okay, cool. the alternate takes were what were throwing me off. When I first listened to the ones on iTunes, I thought the selections of Au Privave must be different, but since learning the first 12 bars, I can tell Parker is playing what I am reading.

As Jazz gains popularity in University, I thought about using the Omnibook as an answer to the classical guitar method.

I don't know if it is because I am around a lot of insecure musicians, but I get this feeling like I have something to prove because I play electric mandolin; as if I have a bone to pick with my classmates, my professors encourage working hard no matter the disipline. The mandolin is not a typical academic instrument, but it isn't the guitar either. Sometimes it is difficult to remove myself from the negativity I sense.