jtaylor

I have received confirmation, from the State Library of Victoria (Australia) of all places, that this article did in fact appear in The Gramophone Record Review. Many thanks for all the help and suggestions -- I never would have thought of this one on my own.

Man, I thought you had it! Unfortunately, I think that's a different publication than the one I'm after. Trinity College Dublin looks like the may have it. I'll reach out to them, but I have to quit if they can't confirm.

Nice, thanks. I do think that's the correct publication but would love to actually track down the issue in question to confirm.

Yeah, came up empty.

While this "Gramophone" did include reviews of classical -- as well as jazz and pop -- I don't believe it's the Gramophone that is strictly classical and still around today. The Gramophone Record Review appears to have run until 1961, at which point it became the Record Review. I did see a reference to an Arthur Jackson review of Lonnie Donnegan from 1956, so TGRR appears the best bet at the moment.

I think you might be on to something, if I can just find the May 1954 issue to confirm. https://thumbs.worthpoint.com/zoom/images1/360/0815/23/magazine-gramophone-record-articles_360_e74abb0fef66a10ec994fddf9cbef890.jpg Became The Gramophone Record Review in November 1953.

I appreciate the responses, thank you. If I am unable to find the original source -- which is likely the case at this point -- then a citation much like the one you propose will have to suffice. I contacted the UK's National Jazz Archive as a last option ... so hopefully then can help.

Does anybody recognize what publication this May 1954 article may be from? It is almost certainly from the UK, but it isn't any of Melody Maker, New Musical Express, Jazz Journal, or many others that I've searched, and I'm struggling to figure out where it comes from. Need it for a book footnote. Not seen, but the date appears in the lower left corner as: MAY, 1954 Many thanks.

Yes, I had a hand in it, along with several others. This set collects every known--and a few that have never been documented--transcription that Cole recorded prior to his start at Capitol. It cobbles together everything for Standard, D&S, Keystone, and even one session for MacGregor in 1941 (the trio recorded a bunch for MacGregor in 44-45, but that is not covered here). Obviously, much of this material has come out over the years, but this is the first time that I know of that it has all been presented together, along with several studio/commercial recordings.

The material from the Riffin' set that will also appear in the Resonance box are the Decca sides and the session with Dexter Gordon. Everything else -- JATP, 1946 Lester session, Keynoters session -- will be omitted. The idea of the Resonance box is to cover Cole's trajectory right up until his very first session with Capitol in November 1943. Unofficially, I count about 52 instrumental sides altogether, roughly 30% of the set.

Agreed. This is one is a bit better: http://www.jazzdisco.org/nat-king-cole/discography/session-index/

If you're after personnel, particularly for his orchestral sides, this site is a good resource: http://apileocole.alongthehall.com/

Nada?

Anyone here have any idea how Leon Petties came to replace Lee Young as Nat Cole's drummer in 1962? Petties seems an interesting choice for several reasons, not least of which is the direction that Cole's music took during the last few years of his life. Any thoughts as to who may have recommended him or how he came to the attention of Cole? Going from Harold Land-Red Mitchell to Nat Cole (the 1962 Cole) doesn't seem like the most natural transition, but I suppose working with Cole may have offered a little more financial stability than life in the studios and/or gigging around Southern California.

Only one I can find This Leroy Lovett? The guy in the ad (scroll up just a bit to see it) looks like the man in the picture you posted, but given his baldness in the 1964 ad, I'm not convinced it's the same guy from the Paramount shot.

Thanks, Chuck. I can't seem to find any images of Lovett to comapare.

Larry: Not to get this too far off course, but John Towner Williams, according to AFM contracts, did in fact only play on two Cole recording sessions, one in 1957 and another the following year.

The second photo is, I believe, from a session at Capitol's New York studio. Cole didn't have a regular piano player, at least not a guy who toured with him and played all of his dates the way Bill Miller, for instance, was Sinatra's pianist. All of the guys you mentioned did play on his west coast dates, Jimmie Rowles and before him Buddy Cole being the most frequent accompanists. Even John Williams played one or two sessions.

Thanks for all of the suggestions. Though this is from four years later than the first picture, the guy on the left looks like it could be the same guy? Anyone know what Ernie Hayes looked like?

This is from a Cole/Basie/Ella engagement at The Paramount Theater, January 1957. Apologies if the pianist is obvious.

Does anyone know why New York session information, namely AFM recording contracts, are not available to researchers, through either local 802s archive or the main AFM archive?

Wish I knew, but I suspect that Edison wasn't on the date - by that point Riddle's trumpet features were typically reserved for Cappy Lewis or Shorty Sherock.

Good man, David! Push that NKC whenever you can.

Only in a very minor way was I involved with the Carnegie disc. Had more of a role with this Analogue Productions reissue.

I did indeed unintentionally misquote you. My apologies.