Chas

Here you go ....

This cover has always repelled me :

Indeed, he did! Jack Lewis was the A&R man behind many of Victor's best jazz releases from the fifties. Yes, he did supervise the Jazz Workshop series, but judging by the nature of much of his less adventurous work for RCA, I think he essentially just OK'd the JW projects (for which he certainly deserves credit). The musical supervision, I'd bet, was pretty much in the hands of the respective composers-leaders: George Russell, Hal McKusick, et al...... It was Fred Reynolds who produced most of the Russell Jazz Workshop , some of the Carisi Jazz Workshop , and possibly some of the McKusick Jazz Workshop as well , so perhaps Larry's surmise about Lewis is correct . Lewis' light-handed approach is creditable only inasmuch as it allowed brilliant musical minds to create freely ; in other contexts , when the musical muses were silent , the downside of such an approach was made manifest .

Did this store happen to be in Argentina or Paraguay ?

The scene-stealing performances of both Jimmy Woods and Dick Whittington should not obscure the fact that Lookin Good was the pinnacle of Joe Gordon's career , both instrumentally and compositionally . This makes his demise shortly thereafter all the more tragic . John Tynan wrote as definitive a review of the circumstances surrounding Gordon's death as we're likely to get : Downbeat January 30 , 1964

I'll see your Brubeck , and raise you a Byard :

" Jazz album covers you like " ? -- makes about as much sense as starting a " jazz recordings you like " thread ! I love cover art as much as anyone here ( though I don't endorse the call some here have made for a cover art forum ), but I think we need to frame threads with a rubric or theme of some specificity ( we need to become Rooster-farians ) in order to make threads more manageable . For instance , if the following cover was the start of a thread called , " Album covers featuring Altec M11 tube mics " , then how long would it be before someone posted this : :crazy:

And at age 16 your letter to Marshall Stearns appeared in the December 1956 issue of Jazz Today :

Like this kid? Well that would give new meaning to 'eye of the round' roast

Any of you flesh & fire fiends ever try roast kid on a spit ? Highly recommended

So that's where Harry's glasses went. Nah , Billy Taylor's got 'em .

The Chef Boyardee headgear couldn't save Preston from becoming barbecue-ee instead of barbecue-er at the hands of the Cadet graphic designer : P.S. -- I'm servin' hoe cakes 'n' sorghum at my next breakfast dance and barbecue !

Bob Weinstock : label owner , record producer , and Master of Suspense ! Edit to fix broken image link .

I saw some of the footage on television a couple of years ago, I think they showed them playing 'Nica's Dream'. That video is here : Wes Montgomery with the Pim Jacobs Trio

May 2007 WHRB Jazz Orgies : May 11 : Film Jazz May 22 : Art Blakey May 27 : Victor Feldman Detailed Orgy schedule here .

NARM Coverage: New Laws Threaten Used CD Market May 01, 2007 - Retail By Ed Christman, Chicago New legislation aimed at curbing the sale of stolen goods could threaten the growing used CD marketplace in a number of states. The National Assn. of Recording Merchandisers outside counsel, John Mitchell, an attorney with Washington, D.C.-based Interaction Law, reports that Florida and Utah have passed second-hand goods legislation, sometimes referred to as pawn-shop laws, that could make the buying and selling of used CDs much more onerous to stores and less attractive to customers looking to sell music they are no longer interested in owning. In Florida, the new legislation requires all stores buying second-hand merchandise for resale to apply for a permit, would be required to thumb-print CD sellers and get a copy of their state-issued identity documents, such as a driver's license. Furthermore, stores could only issue store credit -- not pay cash -- in exchange for traded CDs, and then would be required to hold them for a 30-day period, before re-selling them. In addition to the two previously noted states, Rhode Island also has pending legislation, says Mitchell. "State lawmakers in different states tend to talk to one another...and there seems to be some sort of a new trend among states to support second-hand-goods legislation," says Mitchell. While most states have pawn shop laws, they are not typically enforced against all sellers of second hand merchandise. But as a precaution, most merchants, including record stores owners, already collect ID from individuals selling previously owned goods. In the states where pawn shop laws are getting more restrictive, it practically makes it prohibitive to sell used CDs, says one merchant. In fact, one music retailer -- who operates stores in Florida but is not headquartered there -- reports that one of the chain's stores has already had a visit from the local police enforcing the law. As a result, the chain stopped dealing in used goods in that store. Meanwhile, video and video game retailers are less hit. Stores selling previously owned video and video games do not need a permit, and only have to wait for 15 days before reselling the merchandise. Laws that result in the curtailment of used CD sales likely would be considered good news to record labels and music distributor executives who have long abhorred the growing strength of the used CD market. In fact, until the mid-1990's labels used to put pressure on merchants who bought directly from them not to carry such merchants. At the time, some majors attempted to kill the strategy by initiating new policies to withhold cooperative advertising from retailers buying directly from them but selling used CDs, a move endorsed by some artists including Garth Brooks. But that effort triggered a revolt from independent stores and consumers, highlighted by barbeques of Garth Brook CDs, in some places called a "garth-eque." It also served as a catalyst for a Federal Trade Commission investigation of the music industry practices, forcing those majors to back down from its anti-used CD stance. Since then, merchants who buy direct from majors who participate in the category say that used CD sales have grown from about 5% to sometimes 10%-20% of overall CD revenues. Also, those sales are more profitable. Traditionally, used CD sales are protected by first-sale doctrine in copyright laws allow owners to resell CDs, according to Mitchell. Also, a CD resale is also protected by the U.S. Constitution's First Amendment, argues Mitchell. Since selling a CD could be seen as an indication that the owner does not like or agree with the content, the collection of identification information could be seen as a violation of first amendment rights. Source

That CD does in fact contain all five original tracks from Graffiti Blues plus an unissued track , plus three tracks from the Many Shades of Blue date . Yes , both Collision in Black and Bantu Village would easily fit on one CD , a natural pairing given all the Monk Higgins tunes and arrangements on both albums . Pretty generic funk in my opinion ; I would rather see an individual CD reissue of Heads Up! , which I find a lot more satisfying musically .

Two blocks ? This'll do two blocks . You might want to use Buckyball containers though.....

Taken from this 1965 painting , " New York Angel " : More of Klarwein's cover art here .

How about the surnames of Doug Mettome and Harold Ousley ?

Thanks for clearing that up Jack ; I had wondered about that ! I agree that those original Wilder octets are pretty interesting , calling to mind the similar proto-Third Stream work of contemporaries Raymond Scott and Lyle Murphy . I don't recall Handy's writing being as interesting , however Larry's mention of Wilder in connection with Handy has me wanting to revisit his music .

It has been too many years since I heard this music to either agree or disagree with this assessment , but your description put me in mind of those Alec Wilder miniatures recorded by George Russell for MGM . Those Russell octets used similar instrumentation as I recall . Are they afflicted with the same "preciosity " ( to use one of John S. Wilson's favorite terms of derision ) ? Don't think this has appeared on CD .

Interesting........Cage ( looking like David Lynch and sounding like Vincent Price ) , demonstrating that visually , musique concrète can become a kind of performance art whose entertainment value need not vitiate any underlying artistic value or seriousness of purpose . Would that they had allowed him to perform 4'33" instead !

Nosefrida Nasal Aspirator Warning to musician-parents : Using this device to work your embouchure can result in infanticide !!

Yes , I already noted this in my initial post . A stereo cartridge is sensitive to the L-R difference signal , and since crosstalk , while a function of cartridge design , cannot be completely eliminated , the signal output when using a stereo cartridge summed to mono through a double Y adapter will be different from that of a 'pure' mono cartridge .The question is , as I said , is the noise from the L-R difference signal audible above the noise floor created by the tracing/tracking distortion , cartridge/tonearm resonance etc. ? Does it warrant spending money on a mono cartridge ? Does it warrant the inconvenience of swapping cartridges instead of cables every time you listen to mono records , with the attendant risk of raising the noise floor if the swap is not done with care and precision ? Obviously , since you've gone to the added trouble of using two tonearms and two phono stages , you think it is warranted . Other people's cost-benefit analysis will be different .