Big Beat Steve

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  1. FS/FT: columbia jazz musician press kits

    I know I'd pick up ANY such press kits for LPs (that as such are of interest to me) from the 50s without flinching. The sales blurb can be very, very entertaining. And from what I used to see on eBay they ARE collectable. I don't know about Marsalis but generally I'd say that with all things paper the longer they are preserved the more they will "appreciate". I remember I obtained two sets of the Pablo press kit for the '77 Montreux festival releases at a local record shop way back when the LPs hit the shops (they had a stack just set up free for customers to take away). A folder with a huge poster (styled similarly to the typical covers from that LP series, nothing that appealing but anayway ...), a set of some 6 or 8 or 10 pages of typed promo blurb and about six glossy prints of the featured artists (Eldridge, Gillespie, Peterson etc.). I hung the photos from one set on the wall in my student room for a time, then both got filed away and eventually ended up in the "music items" box of my fleamarket stuff as they really were too "recent" to keep by all means. One (the better-preserved one of the two) found a new home rather fast at an OK price, the other I dont remember, in fact it MAY still be in the box.
  2. Coltrane '58: The Prestige Recordings

    Good points, but the Discogs listing of the "Historical" series is a HUGE mess. They haphazardly mix the US Prestige and German Bellaphon releases (and other pressings of the same LP) instead of listing them as different pressings of one and the same release/reissue, as they (correctly) do with other LPs. .This would have given a much better overview as each release would have appeared only once in the listing linked above. BTW, the listing is still incomplete. "Trumpet Jive" feat. Rex Stewart and Wingy Manone (PR7812/BJS40159) is missing, for example. I remember this series well and bought many of them in the shops in my early collecting days (they remained in print for a long time as you may remember). A lot of these reissues were my introduction to the artists (e.g. "Mating Call"), though quite a bit of the material was also reissued elsewhere (e.g. on the Prestige/Milestone twofer series) in more compehensive form soon after, so if i had the choice I went for the twofers. The "older music" recorded for "other labels" is quite an odd mix IMO. The "Trumpet Jive" LP mentioned above features 4 Rex Stewart tracks done for (UK) Parlophone and 8 WIngy Manone tracks done for the Joe Davis indie. Where's the link there? It still is FINE music and was an ear opener at its time. E.g. the Walter Foots Thomas LP (that also had material from the Joe Davis label) and includes what still are some of my favorite late swing era small band sessions. Of course the Joe Davis reissues have long since been superseded by the LP reissues on Krazy Kat. I never quite figured out how the French Vogue releases ended up on Prestige either. This created more discographical messes. I remember I more than once pulled the Clifford Brown LPs from the bins, hoping for new material, only to find all this had also been reissued comprehensively on a UK Vogue 3-LP set that I had bought years before and Prestige added nothing new. Reissue redundancy wherever you looked ... and so much more unreissued at that time ... (e.g. the material that Prestige leased from Metronome in their early days).
  3. Coltrane '58: The Prestige Recordings

    You're talking about Prestige 7650 that you showed the above cover? I would have thought this reissue happend before OJC ... I bought this LONG beore there were any OJC's (at least in OUR record shops). It's the German license pressing (exactly same cover, Bellaphon label, i.e. probably pressed in the 70s) and I think I bought this in 1985 or so along with one or two other Miles Davis "classic quintet" reissues on Bellaphon.
  4. Erskine Hawkins

    Apart from a few other Erskine Hawkins LP, I've in fact owned the five LPs by that band that were reissued in the Black & White series on French RCA in the 70s for about 20 years now and they have been among my favorites from the swing era ever since. Just recently, though, I grabbed Vol. 1/2 of the "Complete" Erskine Hawkins double LPs from the French RCA "Jazz Tribune" series (did they ever go beyond Vol. 3/4?) at a local secondhand vinyl shop in mint condition for a price you just could not resist - figuring at that money a duplicate set of the music would not hurt. On comparing closer I found there were quite a few newbies because whereas the Black & White series gathers all the essentials, instrumentals and dance floor fillers as well as a select few vocals, the Jazz Tribune "Cmplete" volume has quite a few more vocals, not all of which are on the ballad side. While no desert island discs, their versions of "Big Wig In The Wigwam" or "Do You Wanna Jump Children", etc. are quite enjoyable too as "30s flashback" fare and deserve not to be forgotten.
  5. Check out "Charlie Parker & Jazz Club Memorabilia" (The Norman R. Saks Collection) published by JALC in 2007. It shows a Royal Roost menu as exhibit 247 but it's way too small to scan and reproduce here. From what can be deciphered they did serve chicken soup as well as Southern Fried chicken as part of the special dinner at $1.85 as well as broiled chicken, various cutlets, steaks, sea food etc. on the main menu, Hot Turkey sandwich in the "Sandwich" section etc. Exhibit 253 of the book shows the brochure shown by Makpjaz577 in the opening post, BTW.
  6. So this coincides with the date my aunt visited the club. Regrettably I never thought of asking her about the club and the gig itself (though I guess her recollections would not have been very specific).
  7. This may have been in the late 70s? An aunt of mine went there one " night out" as a tourist during a cruise trip that included a stay in NY. This was in April 1979 and, though not a jazz fan at all, she bought one of his LPs (MK Records 1001, looking like one of those Boris Rose things and including a collection of far earlier live recordings featuring Suillvan, Cutshall, Russell, Wettling et al. if the cover info is correct) and thoughtfully got it autographed by Max Kaminsky himself as well as a handful of his then band embers (whose names I cannot decipher). She later on passed it on to me and that platter has been residing in my collection for some 20 years now.
  8. It IS the same tune. I am not sure it is a transcription recording (but apparently was recorded at World Transcription studios). It was issued on Brunswick 80104 (coupled with Blue Skies) and was therefore reissued later on MCA. This was on the very first Red Norvo LP I ever bought way back at age 16 or 17 - a couple of years before I snapped up "The Changing Face of Harlem" when it hit the record stores. So the Norvo version is the one that got me hooked on this tune (which IS catchy ...).
  9. Nat Cole: Rumba a la King

    Maybe when he wrote "album" he meant to say "78 rpm album" (i.e. 3 or 4 discs making up what "album" originally meant after all) and not an "LP album" (so an LP reissue was not what he was alluding at)?
  10. Urbie Green, 1926-2018

    Does that Persuasive Trombone album have cover art by Josef Albers (of BAUHAUS fame) too? Without wanting to derail this discussion I am kinda surprised that you (of all forumists ) find those Command albums lousy. I've had the Persuasive Percussion album for almost as long as I've collected records (I was given it at the time but every now and then it is a nice spin) and a couple of years ago happened upon the Provocative Percussion Vol. 2 album for next to nothing at a fleamarket. Admittedly the artwork (one for the museums) initially was my main reason for picking up the Provocative album to keep the Persuasive album company on the shelf but both are nice enough loungey late-night mood albums IMHO.
  11. (Seeing this post only now ...) Why would she have laughed at that flick? Being aware of the existence of THAT segment of motor racing (drag racing as opposed to street racing and circuit racing) as I have no doubt she was at least superficially she'd probably have acknowledged movies of this sort (there were many) for what they were - a Hollywood version (B movie class at that ..) of the real thing, and with youth, youth entertainment (both r'n'r and, in this case, drag racing) and a hefty dose of J.D. all mixed in to milk a youth trend for cash, this was the likely result to be churned out by Hollywood. As with movies about circuit or road racing too. No doubt she would have had a lot to laugh about period movies somewhat closer related to HER activities in motor racing too. (I doubt that the plot of the Carrera Panamericana-related original The Fast and The Furious of the same period had that much more substance, for example ... ) The name of Denise McCluggage rings a bell to anyone halfway interested in motor racing of that period. By all accounts she was quite somebody and it is no surprise she would have taken someone like Allen Eager (whom I cannot find "somewhat obscure" though, BTW) under her wings (typical gender roles of the day notwithstanding), and her exploits have been covered elsewhere, e.g. here: Re- Hot Rod Girl, at the bottom of this page is the line-up of the musicians who did the score: Quite an all-star line-up, some with previous experience in this particular field of R&B-like studio outings.
  12. Album covers showing vinyl records without cover

    Thinking about what records to dig out for this thread, here is a question I have often wondered about in this and all the other "album cover" threads: How many of the covers posted here actually come from the collections of those who posted them? (Generously enough, using a pic already available online for a record the poster actually owns will also count )
  13. So, What Are You Listening To NOW?

    I like these sessions a lot and I can't find much wrong with Washigton either but FWIW both Ira Gitler (writer of the original liner notes) and John McDonough (writer of an update for the reissue on Prestige P-24109) find him "a bit rusty". Ira Gitler also stated in the original liner notes that Jack Washington can be heard soloing with the original Basie band on "Doggin' Around", "Somebody Stole My Gal" and "Topsy".
  14. I certainly would not expect "academic" writing in biographies. On the contrary. I was just wondering about what the "workmanlike" attribute actually means when you get to the core of it. Maybe in the sense that given the proximity to the subject and to new source material some may feel that "a lot more could have been made out of it if only ...." (I've come across cases like this before, therefore I was asking)