Song For My Father

A Jazz Memoir By Al Perlman

Jazz was always in my life. It was my father’s great love. I grew up in a tiny first-floor garden apartment in Bayside, Queens, five of us with one bathroom, a small kitchen, two bedrooms, two closets, a living room and another family living in equally cramped quarters directly above us. There wasn’t much space and my mother made it even smaller by banning us from the living room. This was our “show” room to be kept in pristine condition and used only when we had guests: We weren’t permitted to sit in it or talk in it or eat in it or do anything in it. My mother kept plastic on the furniture and took it off only when there was company. The one exception was when my father was home and wanted to listen to jazz. That’s where he had his great big Fisher console with the hi-fi and radio.  Read more

Sterling Silver?

A couple of months ago we wrote a brief note about a copy of Horace Silver’s Song For My Father selling for $334. The note started a discussion about changes in the jazz collectibles market wrought by eBay. Well, yesterday we were watching another copy of Song For My Father because we noticed that the bidding had gone over $150. The record eventually sold for $198. Not outrageous, but still pretty high. The one that surprised us this time came from the same seller. It was a copy of Silver’s Blowin’ the Blues Away. This one sold for $229.50 — bit it was a Stereo pressing, not a mono. Is there any explanation for this? If you have one, please send us a note or comment on the site.

“Charlie Yardbirdaronee”

 

My friend Dan called the other day. He’d just bought a copy of “Slim’s Jam”, the original 78 on the Bel-Tone label, featuring one of Charlie Parker’s early recorded solos recorded in December 1945 when he was in Los Angeles. Dan paid 40 bucks on eBay for the 78. I don’t have a copy of the 78, but I do have the cut on the original Savoy 12-inch LP, The Genius of Charlie Parker, Savoy MG-12014, so I put it on. This is a classic, of course, featuring Slim Gaillard introducing each of the musicians in his own inimitable style: “Here comes Zutty in the door with his brushes . . . This is a fun, Jack McVouty and his tenor.” And, inevitably, “Charlie Yardbirdaroonee,” who, as we soon learn, was “ havin’ a little reed trouble.”

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