Chuck Nessa

Yes, it is Bob Graf. The year is probably '58 ot '59.

I got it from Amazon France. Lon is correct, it is coupled with Concert on the Virgin Islands on a single disc.

Yup, the box is on the "dash to the end". We are in the 2000s now, of 2500 copies of the edition.

IIRC, it was a sub of Audio Fidelity and some, if not all sessions were produced by Tom Wilson.

DIBS ON ONE OF THOSE CONCERT POSTERS!! Thanks Chuck. Sorta thought I might save 'em for my (potential, future) grandkids who could sell them on Ebay and the last 2 surviving jazz fans might bid them up to $50,000.

Do you know who the real Lazlo Toth was?

Well, the record store was Discount Records at 658 State St. I was the store manager. I set up the concert and arranged for the housing for the band. Malachi stayed at our house. A few small corrections - the concert was May 12, Moye joined the band in the summer of 1970, Roscoe still lived in Chicago, and Cecil had left two years earlier, followed by Bill Dixon, who in turn was followed by Jimmy Cheatham. I recently discovered a half dozen of those concert posters in my basement.

Yes, don't let my posts deter you from buying this music. People in Sorrow a masterpiece.

Then you really need to see the film clip.

Harold, the Columbia version was first an Okeh, and Whetsol was way too "smooth" to "fan himself". In August of '30 the band went to the West Coast for some gigs and to make an appearance in the aforementioned film. While there, Victor recorded the band on Aug 20 and 26. They did 3 takes of OMB on each date - 5 of them have been issued. Okeh recorded the tune 2 months later, in inferior sound. I have always thought all the Victor performances were better (by far). They just sound more sophisticated/lively/finished to me. The solos by Carney and Hodges (on soprano) are good examples of this as is the execution of the band. The Okeh, though later, sounds like an earlier, unsettled performance. By the way, I was really impressed you went to your collection to check it out. Maybe you'll do it again to argue with me.

Dogpile has had a "reverse look-up" feature for years. You can even enter addresses and find the phone numbers. I used it a bunch when I worked for the census bureau.

This has always been in my top 10 favorite Ellington recordings. Tonight I listened to Duke and Bechet play the piece. It is wonderful in both recordings. There are multiple versions by Duke's band in 1931, and Bechet recorded it in 1940. A great performance by the Ellington band was caught on film for an Amos & Andy feature in the '30s. The clip from this film shows up in jazz documentaries all the time, but LISTEN. Freddy Jenkins is a STAR! Thank you God for the documentation of stuff like this.

Do not ignore "Welcome to the Party", the previous release by this terrific band. It's a bit different since it is a studio record, but worthy of 90% of the bands out there today.

In addition to the correction, the Summer issue of STN will contain a review of Snurdy.

When Jumpin' was issued for the first time, the 7000 series Panther was in print. When they eventually ran out of the original Panther, they reissued it in the 10000 series.

The review was also in error when stating the UK issue was "unofficial". Soul Jazz licensed it from EMI.

Signal to Noise will print a correction in the next issue.

I have one, but EMI seems to have lost theirs.

Les Stances a Sophie is dubbed from vinyl.

The 10000 series was started by Fantasy after they bought Prestige. The Panther was issued by the old Prestige in the 7000 series, and The Jumpin' Blues was announced, but not issued. The artwork on the Panther cd is from the first issue, but the colors wrong. The title was in a red/rose.

When Epic issued these on lp they cut out the Chick Bullock vocals (not a bad idea). Classics reissued these versions in their Berigan series, but issued the complete versions in the set called "Complementary Tracks".

The easiest way to complete this material is to add "Conversations" on Fuel 2000 to your collection.

My fave is Elic Dorphy.

I agree and suggest you check out the earlier volumes, then pick up the Neatworks 1921-'41 disc as well.

I'm now playing my 40 year old lp, and while the music is dandy, I think the recording (as reflected by my mono lp) is not up to Contemporary standards. I note the engineer is Howard Holzer, not the usual Roy DuNann. It just sounds "one dimensional" to me. Maybe the stereo master is better. Not bad sound, just not what I expect from Contemporary.