Stereojack

Although he didn't write it or originate it, the tune is closely associated with Benny Goodman, who had the first hit recording of it in 1937. Perhaps the most definitive version, however is Goodman's live version from Carnegie Hall in 1938.

Barbara McNair

Lee Allen Allen Toussaint Toussaint McCall

Mongo Santamaria had a hit with "Watermelon Man" before anybody knew who Herbie Hancock was.

Joe Louis Sonny Liston Melba Liston

Jilly Rizzo Frank Rizzo Frank Fontaine

The Coleman Hawkins album "The High and Mighty Hawk" is IMO one of his greatest sessions, and was available for several years as a domestic CD on the London label distributed by Polygram. I recommended it to several dozen customers over the years, and was sorry to see it go out of print. I've got all the other LP's, and overall this is a fine series. The Budd Johnson is a standout as well.

Reese Witherspoon Jimmy Witherspoon Eldridge Cleaver

Big Tiny Little Little Jack Little Little Richard

Love's open criticism of "Smile" back in the day is one of the main reasons it was abandoned. Now that it's finally out, he wants a piece of it? What an asshole!

Jo Stafford Stafford James James Joyce

Chuck Mangione Henry Mancini Frank Mantooth

Chu Berry Chuck Berry Bride of Chucky

I gotta confess - I've always liked "Wichita Lineman".

Gotta agree with the raves for "Curtis Live". A masterpiece!!!

I bought this back in 1968 on the strength of rave reviews and his association with the Beach Boys and the Byrds. Held on to it for several years and a number of listenings, but ultimately just never was able to warm up to it. This was clearly an ambitious and unique creation, but I think JSangry has pretty much summed it up. Warner Brothers got behind it in a big way too, but I doubt that they ever went into the black with it.

Collectors like first editions and original pressings, and will pay a premium for them. Sometimes it may have to do with sound quality, but more often than not it is simply the fact that it is a first pressing makes it desireable. That said, I would take any "values" listed in Goldmine with a grain of salt.

I enjoyed participating! A few comments: 5. My face is red! I was so sure this was Jimmy Heath! 13. Seems like a lot of people (myself included) thought this was Benny Goodman! Wilbur can really sound like him! I guess the kinda dramatic ending that Wilbur delivers is un-BG like, so I should've known better. 14. Are the two versions on the CD's the same? The one you played was originally on Musicraft. They also cut a version for Standard Transcriptions. I've got the Standards on a 2 Jazz Archive LP's, but they have been released on numerous budget LP's (and probably CD's) over the years.

I'll second that. The cover of the CD is totally different from the LP, which showed their faces only, Welk sporting a broad grin, Hodges with saxophone in mouth. The album is not as bad or bizarre as some might expect. Hodges does pretty straight readings of some ballads and the accompaniment is straightforward and nondescript.

I believe the label was owned by Sidney Gross, who plays discreet rhythm guitar on several of the sessions.

Johnny Bothwell left music in 1949. He died in 1995. Boyd Raeburn made three very commercial LP's for Columbia in the 1950's. He died in 1966.

The tune bears a strong resemblance to Morton Gould's "Pavanne", not exactly a classical piece. I first heard it by Glenn Miller.

fin..........e..........as ← Actually both pronunciations are correct. His given name is Phinus Newborn, Jr. I have a 78 by his father's band that spells the name this way. When Jr was in high school, he got tired of the girls teasing him with "fine ass" so he changed it to Phineas. I heard this from his brother Calvin. Fellow Memphis musician James Williams told me in the early 80's that local musicians still called him "Phinus".

I agree with Mike about "Hold On I'm Comin" - a dog! It was Blakey's one concession to commercialism. "Golden Boy" and "Soul Finger" are fine albums, even though they may appear to be commercial copouts. Some of my favorites (without going to look at the shelves): "The Jazz Messengers" (Columbia) "Moanin'" (Blue Note) "At the Jazz Corner" (Blue Note) "Impulse" (Impulse) "Mosaic" (Blue Note) "Buhaina's Delight" (Blue Note) "Ugetsu" (Riverside) "Free For All" (Blue Note) "Indestructible" (Blue Note) There are plenty more really good ones, but these are the standouts for me.

Chuck, can you explain the difference?