Stereojack

Yes - a very interesting musical figure. Began his career as a jazz pianist, had a pop hit "Chain Gang" in the mid-1950's, pursued a career as a singer, songwriter, arranger, composer, and record producer in the 1960's. Developed a style of singing that borders on R&B, made a series of vocal albums for Mercury, ABC, Atlantic, Warner Bros in the 1960's and 70's, culminating in the early 90's with a masterpiece entitled "Slowly" for Music Masters. On that final album, his voice had descended into Tom Waits territory, but his delivery was very moving. I've been a big fan for a long time.

...shudder... I think Diamond may have recorded it, but Bobby Scott is the composer. Never liked the tune until I heard Scott's version.

Anybody ever heard (composer) Bobby Scott's original version? It's very different from the Hollies take.

It is Clarke. Not his best work, imo, but it resurrected their status in the US. The success of Long Cool Woman and the accompanying LP, Distant Light, prompted Clarke to leave the band, although he was back on board a year later.

There's a lot to recommend among their early 70's recordings, although as times changed, so did their music. "Moving Finger" (aka "Confessions of the Mind" in the UK) is very good. I also like "Another Night" a lot, and many ot the other 70's albums have some fine tunes. "30th Anniversary Collection" is a superb 3-CD set that covers the early years in depth, and contains the best of the 1970's, including a few rare masterpieces such as "Wings" & "Can't Tell the Bottom From the Top", two of my favorite Hollies songs. From the mid-70's on, their records came to be dominated somewhat by synth keyboard, a distraction to be sure, although the vocals were still strong. Their first album after the departure of Graham Nash was a collection of Dylan songs. It's not very good, and it turned me off to them for a long time. Eventually I began to investigate some of the subsequent albums, and I found that I liked them a lot. Still don't dig the Dylan record.

While the covers can vary, the pressings are usually very good. Warner/Reprise seems to be the main source, but there are other sessions produced by Albert Marx (owner of Discovery/Trend) that were originally issued on Cadence, Atlantic, and other labels. Marx may have retained ownership of those masters.

Vocalist, recorded with Benny Goodman 1939, Jack Jenney 1939, Will Bradley 1940. Must be up there in years by now!

Also a big bluegrass fan for the same reasons. The "magic" of that clear high harmony really appeals to me, whether it's the Stanley Brothers or the Hollies.

Bought it when it came out, shitcanned it not long after. A trumpet playing buddy of mine (and big Freddie fan) keeps touting this one to me, but I think I can live without it.

The Atlantic's are a mixed bag. "Backlash" and "High Blues Pressure" are very good, the others are forgettable. Although "Backlash" starts off with two funky boogaloos, the band (with James Spaulding) is totally kicking ass, and the third tune is the sublime "Little Sunflower". "High Blues Pressure" features a larger ensemble, and has many fine moments. No love for at least Side Two of The Black Angel? I think the version of "Coral Keys" on there is a classic... "Coral Keys" is wonderful. Not a big fan of the electronics that mar some of this LP.

Big fan here as well! "African Cookbook" is essential, and I'd like to single out "Music of Our Ancestors" as a personal favorite.

The Atlantic's are a mixed bag. "Backlash" and "High Blues Pressure" are very good, the others are forgettable. Although "Backlash" starts off with two funky boogaloos, the band (with James Spaulding) is totally kicking ass, and the third tune is the sublime "Little Sunflower". "High Blues Pressure" features a larger ensemble, and has many fine moments. He only made two for Impulse, "The Artistry of" and "The Body and the Soul". The former is a pretty good small group date, the latter features Freddie with a big band. I've never been able to warm up to the big band date. The arrangements (I know, they are by Wayne Shorter) have always sounded awkward and cumbersome to me. I recommend you check out some of his later recordings. The first two on CTI (Red Clay & Straight Life) may be a little too "contemporary" for some, but these records have a lot to offer. The later CTI's were very successful comercially, and Freddie always plays well, but overall they are just too slick and over-arranged for my tastes. Skip his Columbia period (late 70's-early 80's) - this is a low point in Freddie's discography, although I'm sure he was making money! After leaving Columbia, he was, imho, playing some of the best trumpet of his career. I highly recommend "Live at the Northsea Jazz Festival" (Pablo), a smoking 2-LP set. Also must mention the two albums with Woody Shaw from the mid-80's. A must for trumpet fans! Lastly, I have to mention his stint with Art Blakey in the early 1960's. The string of LP's they made for Riverside and Blue Note in this period are some of the finest in Blakey's large catalog. I especially like "Ugetsu", "Mosaic", and "Buhaina's Delight".

Big Hollies fan here. Yes, they have high voices, which makes them a little too "teen" sounding for some, but I'm always a sucker for good vocal harmony, and well-crafted tunes. They were able to survive Graham Nash's departure around 1968, and went on to make some very fine music in the early 70's. In recent years Allen Clarke is out of the band, and Carl Wayne (formerly of the Move) has been lead singer. I wonder how they sound today? Original bassist was Eric Haydock, replaced by Bernie Calvert around 1965. Calvert stayed well in to the 70's. When was Frankie Allen in the band?

Huh? There are no Joe Henderson albums preceding his Blue Note period. Perhaps you are referring to "Snap Your Fingers" (Todd), a pop album by a singer with the same name, who sounds like Brook Benton. More than once he has been confused with the saxophonist. I see that AMG also lists a 1962 Capitol LP. I have no doubt that this is by the singer

There are also Crown releases by Bob Brookmeyer and Chet Baker that stem from Pacific Jazz, and Cal Tjader material from Fantasy.

I dearly love just about everything by the MJQ, but I can remember when I used to think that they were too genteel, too pristine, with their tuxedos and their prim and proper music. Eventually Bags won me over, and in time I developed a deep admiration for all of them, their individual talents, and what magic they were able to achieve as a unit. Nowadays when I encounter that attitude among jazz newbies, I think, "just you wait. You'll discover them someday", which is what my parents said to me about lobster when I was a kid.

I think it needs to be said that one must separate the artist from the art. I have little use for John Phillips the man, but still admire his talent. I think the Mamas & the Papas were the perfect synthesis of folk and British Invasion rock. I've been a big fan for a long time, and I'm not gonna let the recent "revelations" change my opinion of the music.

I only ever noticed what crummy records the group made. Never interested enough to wonder why. Just poor pop music. MG Well, I disgree with both you guys, so there! And, I like the stereo mixes. So there, again!

Welcome back, dongle and all!!

I remember both shows. Hart replaced Clayton Moore as the Lone Ranger for several episodes, perhaps one whole season. I guess the producers figured no one would be able to tell, given the mask and costume!

Wasn't Cafe Society in New York?

I saw Lou Donaldson at the Jazz Workshop in Boston around 1966-67, and Billy was on piano. Would've preferred to hear him on organ, but the club may not have been willing to rent an organ. Not an especially memorable evening of music, as I recall.

If only all Three Suns albums would remain sealed! The CDC would call it "containment".

Were the solos recreated, or just the arrangements? Assuming the latter, I think there is place in jazz for presenting newly recorded classic arrangements. They are not a replacement for the real deal, but certainly present an alternate way of experiencing the music, especially if the originals were lo-fi. IMHO. Now, if they were playing transcribed solos, that's another story. Solos were recreated, note-for-note. No variations. The only selling point was the sound.

Henry is unique. Originally he was marketed as a jazz pianist, but has leaned more towards blues & r&b since then. I've seen him live twice, performing solo, and he is wonderful. Great 2-handed pianist, and also sings.