Stereojack

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.

I believe you have a first pressing. My copy of the Count Basie album (CST 143) says "Recorded at Sound Enterprises, Hollywood, Calif" directly underneath the song titles on back. I imagine these went through many re-pressings, so there are bound to be variations.

Upon further research, it appears that Webster had two extended stays in California, the one I chronicled previously is the second one. Here's the chronology from the earlier stay. 8/14-18/56 Billie Holiday (Verve) 9/4/56 Harry Edison - Sweets (Verve) 9/4/56 Ella Fitzgerald - Ellington Songbook (Verve) 9/11/56 Art Tatum & Ben Webster (Verve) 11-16-20/56 Buddy Bregman - Swingin' Kicks (Verve) 1/3-9/57 Billie Holiday (Verve) 11/11-12/57 Woody Herman - Songs For Hip Lovers (Verve) 1/18/57 Red Norvo (RCA) 1/31/57 Buddy Rich Sings and Swings (Verve) 3/5-30/57 Harry Edison - Gee Baby, Ain't I Good To You (Verve) 6/11/57 Benny Carter - Jazz Giant (Contemporary) 6/12/57 Billy Daniels - You Go To My Head (Verve) 7/22/57 Benny Carter - Jazz Giant (Contemporary) 8/2/57 Norman Granz Jam Session (Verve unissued) (at Hollywood Bowl) 8/6/57 Barney Kessel - Let's Cook (Contemporary) 9/23/57 Bill Harris and Friends (Fantasy) 10/7/57 Benny Carter - Jazz Giant (Contemporary) 10/15/57 Ben Webster - Soulville (Verve) 10/16/57 Coleman Hawkins Encounters Ben Webster (Verve) 10/17/57 Ella Fitzgerald - Ellington Songbook (Verve) Webster was back in New York by November, 1957

According to the Langhorn/Sjogren discography, Webster's California period on record begins with his appearance at the Monterey Jazz Festival behind Jimmy Witherspoon, and coincidentally, ends with a May 1962 Jimmy Witherspoon date. 10/2/59 Jimmy Witherspoon - Monterey Jazz Festival (Hi-Fi Jazz) 11/3/59 Gerry Mulligan Meets Ben Webster (Verve) 1st session 11/6/59 Ben Webster With Oscar Peterson Trio (Verve) (Discography places this in New York, as does Ruppli's Verve session files) 12/2/59 Gerry Mulligan Meets Ben Webster (Verve) 2nd session 12/2/59 Jimmy Witherspoon At Club Renaissance (Hi-Fi Jazz) same band as on Verve session 12/9/59 Jimmy Witherspoon and Ben Webster (Verve) 12/59 Mulligan & Webster appear on Dinah Shore TV show, video exists 1/13-14/59 Maxwell Davis Tribute To Duke Ellington (Crown) c. 1960 Jimmy Witherspoon & Ben Webster (Stateside) c. 1960 Jimmy Rushing & Helen Humes (Columbia) (4 tracks) 6/1-3/60 Johnny Hodges (Verve unissued) 7/15/60 Jo Stafford - Jo + Jazz (Columbia) 8/1/60 Jo Stafford - Jo + Jazz (Columbia) 8/10/60 Jo Stafford - Jo + Jazz (Columbia) c. 1960 Johnny Hodges (Verve unissued) not confirmed by Ruppli c. 1960 Nancy Wilson - Something Wonderful (Capitol) 9/6-8/60 Helen Humes - Songs I Like To Sing (Contemporary) 9/21/60 Jon Hendricks - Evolution of the Blues Song (Columbia) 10/14/60 Ben Webster At Renaissance Club (Contemporary) 10/18/60 Big Miller - Revelations and the Blues (Columbia) 11/22-23/60 Johnny Hodges - Master of Jazz (Storyville) (later issued on Mosaic) 1/18-19/61 Ben Webster - The Warm Moods (Reprise) 1/19/61 Anita O'Day - Trav'lin' Light (Verve) 1/31/61 Johnny Hodges (Verve unissued) 3/61 Richard "Groove" Holmes - Groove (Pacific Jazz) 6-8/61 Jimmy Witherspoon - Hey Mrs. Jones (Reprise) 10/61 Kay Starr - I Cry By Night (Capitol) 4/10/62 Benny Carter - BBB & Co (Prestige Swingville) 4/11/62 Frank Sinatra - Sinatra and Swingin' Brass (Reprise) 5/23/62 Jimmy Witherspoon - Roots (Reprise) Webster also appeared with Witherspoon on TV broadcast "Jazz Casual" around this time, not listed in discography A Reprise LP by Sister Wynona Carr mentions Webster in the liner notes, but he is not audible. Nancy Wilson session not listed in discography, but I can confirm that he is present and solos on four tracks.

Leo De Gar Kulka was later the owner/engineer of Golden State Recorders, a highly regarded and renowned Los Angeles recording studio, known primarily for a lot of 1960's rock recordings. I guess Sound Enterprises was an earlier facility he ran.

Frankly, I consider the Crown series to be superior to the Time-Life series. Time-Life are note-for-note recreations of big band classics, with little room for creativity. The Crown series are loosely based on the originals, with arrangements that vary from similar to radically different, and with many great soloists - not only many members of the original bands, but guest appearances by top soloists, and even a couple of vocals by BB King! In a number of instances, arrangements are expanded to allow more solo space. While these may not please the nostalgia audience, the music stands on its own much better. The original pressings of this series were packaged like audiophile recordings, with a lot of space on the back touting the stereo process, and the records are on red vinyl. I don't know if these were sold at budget prices originally, but within a couple of years they ended up in the cheap Crown series with the noisy pressings. If you can find clean copies of the originals, they sound great! I've even seen reel-to-reel tapes of some of the early Crowns, so clearly they were going after the growing audiophile market originally. They also say "Recorded at Sound Enterprises". Has anybody ever heard of this studio?

If you can find the Muse LP's "Live at Sandy's" it's a winner. There are a total of six LP's (!!!) from this all star session, two each by Cobb, Eddie Cleanhead Vinson, and Buddy Tate, all recorded over two nights at Sandy's in Beverly, MA in 1977. Also worth mentioning is the top notch rhythm section of Ray Bryant, George Duvivier, and Alan Dawson. I went two nights that week, on one of which they were recording. All that has come out on CD is one Arnett Cobb title, contaning the first LP and part of the second. This might make a good Mosaic Select!

I don't know how many original Argo LP's you've heard, but I've got many of them, and generally I consider them to be quality pressings. When the company changed hands in the early 1970's, the quality did go downhill. I've got original pressings of all three Shaw LP's, and they sound fine.