JSngry

Listening to the game on the radio, dugouts empty again after out 3 of the jays 7th, Rangers announcer Matt Hicks says "Are you KIDDING me?....Get it together, IT'S BASEBALL." Toronto has the better team (this year), but their fans -at least the ones at the game - are another story.

Rangers/Jays...you push the improbability button THAT hard THIS often, you get this kind of inevitable back.

No idea. I've never actually heard any of this stuff.

Quoting from Ira Gitlers notes to Prestige 7744 Conception (an early 1970 reissue of the October 5, 1951 date with Rollins, McLean,Bishop, Potter, & Blakey)" And then at the end, this in 1970, mind you, with no apparent irony (emphasis added): So...it took them damn near 20 years to figure out that not only could you record longer tracks, and not only could you make a 12" LP, but that you could also put a single session together on one LP. Genius!

Looking at Savoy 10" is interesting... http://www.jazzdisco.org/savoy-records/catalog-9000-dee-gee-1000-series/album-index/ http://www.jazzdisco.org/savoy-records/catalog-15000-series/album-index/ As is true of their EP product: http://www.jazzdisco.org/savoy-records/catalog-ep-8000-series/album-index/ http://www.jazzdisco.org/savoy-records/catalog-ep-8100-dee-gee-4000-series/album-index/ Seems like a LOT of resources were devoted into porting over older 78-era material to the newer speed(s), and that recording of truly contemporary music began only once that job was more or less complete. And even then, the artists involved seemed to be of the more "reliable" sort, which maybe plays back to just how smacked out was the early 1950s NYC post-bebop jazz scene, and was Bob Weinstock the only guy willing and/or able to deal with that on a sustainable basis at that time, to see an actual future there (although, his singles focus suggests that during these days he was less concerned with long term future than immediate future)? I gotta keep coming back to this - if you want early 1950s 10" jazz records that are really thinking about albums as the focal point, you gotta look at the West Coast first, and then to East Coast things like Debut and Period (or Esoteric, or whatever it was called), the Norman Granz Norgran/Clef thing, and Chicago's Mercury, with and without Granz. The other guys seem to have been more interested in porting their back catalog over and then holding their breaths to see what was going to happen next, who was going to be left alive, literally and figuratively. Even the upstart who was going to soon become a significant player, Riverside, was none too sure about it at first. In this environment, the California labels like Pacific Jazz, Fantasy, Discovery actually had a head start, because they didn't have all the back catalog to worry about (Albert Marx had back catalog, of course, but nothing compared to Alert Lion or Herman Lubinsky), they could set their starting point to the now and take it from there. Fantasy had a fair numnber of 78s, but only over a few years, and they hauled ass to get stuff over to LP & EP asap. Fantasy: http://www.jazzdisco.org/fantasy-records/ Contemporary is the one WC label that had a lot of back catalog to deal with. It looks like when they began to release "modern" jazz in 1953, it was either local product or leased from Vogue (there was a lot of that going around, wasn't there?) - but definitely to 10"LP or EP: http://www.jazzdisco.org/contemporary-records/discography-1951-1954/ But geez, compare that to this: http://www.jazzdisco.org/contemporary-records/discography-1938-1950/session-index/ another instance where there was resources tied up in earlier jazz, so of course priority would be to keep those assets viable. But once Contemporary truly flipped over to modern, they did it in the modern way - LPs & EPs. Singles were really not a significant part of their game. No man, not at all, just doing a lot of multitasking right now, work + solving the Joe Holiday riddle + thinking about the 10" LP thing... I thought the vinyl flooring drive thing was an EX-cellent response!

Yeah, I guess if you stored/carried a lot of 78s, singles or albums, a 10" LP was a lot less disruptive to your space than was a 12".

I went to a couple of games in the old Busch, and yeah, it was cool, and yeah, they were ballgames, all of them, but it was definitely one of those generic things. You ask me what I most remember about it, the stadium itself, and I'll tell you that it was round. That's about it. What I did dig was that you could by liquor in the convenience stores in the immediate area, so, yeah, knowck off a half pint and go watch a ball game. In a round stadium. With turf. The last time I was in St. Louis (over a decade ago by now), I had my local buddy drive me down to where the old Sportsman's Park used to be. It's gone (I guess the field remains, though?), but if I remember the drive correctly, still standing is part of the old city gas works (or maybe it still is part of the city gas works?), any how, the stadium was right in the area of the gas works and thus the name "Gashouse Gang". All I know is that it looked old and kinda Meet Me In Saint Louis, Louie, like a lot city did. I kept looking for Judy Garland to come screaming out of nowhere on a trolley car runnig amok, OFF THE RAILS CLANGCLANGCLANG RUN FOR YOUR LIFES! Never happened, but maybe I just got out of town in time to miss it. Who knows? Don't get me wrong, nice town, but all the photos I've seen of old Sportsman's Park suggest that anybody having nostalgia for BuschBowl is having it because of what happened, not where it happened, not that people can really sort those things out, but still...

I'm also wondering if we're not confusing the notion of recording music for release as album(s) with recording music for release as singles...those are not the same thing. To use a West Coast example of a "star" in his early flush prime:http://www.jazzdisco.org/pacific-jazz-records/discography-1952-1954/ I'm going to bold the primary/first real-time release #s of these, becuae there's been so much recycling ove rhte yeas. Chet Baker QuartetChet Baker (trumpet) Russ Freeman (piano) Bob Whitlock (bass) Bobby White (drums) Los Angeles, CA, July 27, 1953PJ-225The Lamp Is Low (Pavane For A Dead Princess)Pacific Jazz 605, EP4-14, PJLP-3; World Pacific WP-1249; Pacific Jazz DJ-1, (J) K18P-9259; Mosaic MR4-122 This Time The Dream's On MePacific Jazz EP4-4, PJLP-3, (J) K18P-9259; Mosaic MR4-122PJ-227Maid In MexicoPacific Jazz 605, EP4-14, PJLP-3, (J) K18P-9259; Mosaic MR4-122* World Pacific WP-1249 Chet Baker - Pretty/Groovy * Pacific Jazz DJ-1 Various Artists - Disc Jockey Edition * Pacific Jazz (J) K18P-9259 Chet Baker Quartet - Cool Baker, Vol. 1 * Mosaic MR4-122, MD3-122 The Complete Pacific Jazz Studio Recordings Of The Chet Baker Quartet With Russ Freeman * Pacific Jazz PJLP-3 Chet Baker Quartet * Pacific Jazz EP4-14 Chet Baker Quartet * Pacific Jazz EP4-4 Chet Baker Quartet * Pacific Jazz 605, 45-605 Chet Baker - The Lamp Is Low / Maid In Mexico Chet Baker QuartetChet Baker (trumpet) Russ Freeman (piano) Carson Smith (bass) Larry Bunker (drums) Los Angeles, CA, July 29 & 30, 1953PJ-258Russ JobPacific Jazz 610, EP4-14, PJLP-3, (J) K18P-9259; Mosaic MR4-122PJ-256ImaginationPacific Jazz 610, EP4-14, PJLP-3, PJ-1206, (J) K18P-9259; Mosaic MR4-122 Long Ago And Far Away (10" LP take)Pacific Jazz EP4-9, PJLP-6, (J) K18P-9259, DJ-1; Mosaic MR4-122 Long Ago And Far Away (12" LP take)World Pacific WP-1249; Pacific Jazz PJ-75, (J) K18P-9259; Mosaic MR4-122 Carson City StageWorld Pacific WP-1249; Pacific Jazz (J) K18P-9260; Mosaic MR4-122 Easy To LovePacific Jazz EP4-4, PJLP-3; World Pacific WP-1249; Pacific Jazz (J) K18P-9259; Mosaic MR4-122 Batter Up-* Pacific Jazz (J) K18P-9259 Chet Baker Quartet - Cool Baker, Vol. 1 * Mosaic MR4-122, MD3-122 The Complete Pacific Jazz Studio Recordings Of The Chet Baker Quartet With Russ Freeman * Pacific Jazz PJ-1206; World Pacific PJ-1206 The Trumpet Artistry Of Chet Baker * Pacific Jazz DJ-1 Various Artists - Disc Jockey Edition * World Pacific WP-1249 Chet Baker - Pretty/Groovy * Pacific Jazz PJ-75 Gerry Mulligan/Chet Baker - Timeless = Pacific Jazz ST-20146 Gerry Mulligan And Chet Baker - Timeless * Pacific Jazz (J) K18P-9260 Chet Baker Quartet - Cool Baker, Vol. 2 * Pacific Jazz PJLP-3 Chet Baker Quartet * Pacific Jazz PJLP-6 Chet Baker Quartet * Pacific Jazz EP4-14 Chet Baker Quartet * Pacific Jazz EP4-9 Chet Baker Quartet * Pacific Jazz EP4-4 Chet Baker Quartet * Pacific Jazz 610, 45-610 Chet Baker - Imagination / Russ Job Chet Baker QuartetChet Baker (trumpet) Russ Freeman (piano) Carson Smith (bass) Larry Bunker (drums) Radio Recorders, Hollywood, CA, October 3, 1953 No Ties (10" LP take)Pacific Jazz EP4-8, PJLP-6, (J) K18P-9259; Mosaic MR4-122 No Ties (12" LP take)Pacific Jazz PJ-1206, HFS-1; Mosaic MR4-122 All The Things You ArePacific Jazz EP4-9, PJLP-6, PJ-1206, PJ-LA892-H, (J) K18P-9260; Mosaic MR4-122 The Thrill Is Gone (10" LP take)Pacific Jazz EP4-9, PJLP-6, JWC-503, PJ-75, (J) K18P-9260; Mosaic MR4-122 The Thrill Is Gone (12" LP take)World Pacific WP-1249; Pacific Jazz (J) K18P-9260; Mosaic MR4-122 Band AidPacific Jazz EP4-8, PJLP-6; World Pacific WP-1249; Playboy PB 1529/30; Pacific Jazz PJ-100, (J) K18P-9260; Mosaic MR4-122 Bea's FlatPacific Jazz EP4-8, PJLP-6, PJ-1206, ST-20138, (J) K18P-9260; Mosaic MR4-122 Moon Love (10" LP take)Pacific Jazz EP4-9, PJLP-6, (J) K18P-9260; Mosaic MR4-122 Moon Love (12" LP take)Pacific Jazz PJ-1206; Mosaic MR4-122PJ-291Happy Little SunbeamPacific Jazz 615, EP4-8, PJLP-6, PJ-1206, ST-20138, (J) K18P-9260; Mosaic MR4-122 Happy Little Sunbeam (alt. take)Pacific Jazz JWC-500, JWC-EP-1000, (J) K18P-9260; Mosaic MR4-122* Pacific Jazz (J) K18P-9259 Chet Baker Quartet - Cool Baker, Vol. 1 * Mosaic MR4-122, MD3-122 The Complete Pacific Jazz Studio Recordings Of The Chet Baker Quartet With Russ Freeman * Pacific Jazz PJ-1206; World Pacific PJ-1206 The Trumpet Artistry Of Chet Baker * Pacific Jazz HFS-1 Various Artists - Assorted Flavors Of Pacific Jazz: A Hi-Fi Sampler $1.98 * Pacific Jazz PJ-LA892-H Various Artists - Jazz: The 50's, Vol. I * Pacific Jazz (J) K18P-9260 Chet Baker Quartet - Cool Baker, Vol. 2 * Pacific Jazz JWC-503; World Pacific JWC-503 Various Artists - Ballads For Backgrounds * Pacific Jazz PJ-75 Gerry Mulligan/Chet Baker - Timeless = Pacific Jazz ST-20146 Gerry Mulligan And Chet Baker - Timeless * World Pacific WP-1249 Chet Baker - Pretty/Groovy * Playboy PB 1529/30 The Playboy Jazz All Stars * Pacific Jazz PJ-100 Various Artists - 24 Great Jazz Groups: On Mike! * Pacific Jazz ST-20138 Chet Baker Plays And Sings * Pacific Jazz JWC-500; World Pacific JWC-500 Various Artists - Jazz West Coast * Pacific Jazz PJLP-6 Chet Baker Quartet * Pacific Jazz JWC-EP-1000 Various Artists - Jazz West Coast * Pacific Jazz EP4-8 Chet Baker Plays * Pacific Jazz EP4-9 Chet Baker Quartet * Pacific Jazz 615, 45-615 Chet Baker - Happy Little Sunbeam / The Thrill Is Gone Chet Baker QuartetChet Baker (trumpet, vocals -1,4, trumpet -2,3) Russ Freeman (piano) Joe Mondragon (bass) Shelly Manne (drums) Radio Recorders, Hollywood, CA, October 27, 19531. PJ-306I Fall In Love Too EasilyPacific Jazz 614; Mosaic MR4-1222. PJ-307Winter Wonderland (78 take)-3.Winter Wonderland (LP take)World Pacific WP-1249; Pacific Jazz (J) K18P-9260; Mosaic MR4-122; Blue Note CDP 7 94857 24. PJ-310The Thrill Is GonePacific Jazz 615, EP4-16, PJLP-11, PJ-1222; Mosaic MR4-122* Mosaic MR4-122, MD3-122 The Complete Pacific Jazz Studio Recordings Of The Chet Baker Quartet With Russ Freeman * World Pacific WP-1249 Chet Baker - Pretty/Groovy * Pacific Jazz (J) K18P-9260 Chet Baker Quartet - Cool Baker, Vol. 2 * Pacific Jazz PJ-1222; World Pacific PJ-1222 Chet Baker Sings * Blue Note CDP 7 94857 2 Various Artists - Yule Struttin' (A Blue Note Christmas) * Pacific Jazz PJLP-11 Chet Baker Sings * Pacific Jazz EP4-16 Chet Baker Sings * Pacific Jazz 614, 45-614 Chet Baker - I Fall In Love Too Easily / Winter Wonderland * Pacific Jazz 615, 45-615 Chet Baker - Happy Little Sunbeam / The Thrill Is Gone Yes, 45s were released, but it seems to me that the focus of the sessions was to get an album out, be it on LP or EP. The 45s were probably aimed at jukeboxes and radio play, trying to get that "hit". But the focal point was now the album.

The generally accepted first pop music "concept" (as opposed to "songbook") album was on Columbia 78s - Frank Sinatra,'s The Voice.from 1946. That was also Columbia's first pop catalog item to be released as an LP. Regarding jazz albums as albums vs collections of singles, Ellington was releasing suites on 10" LPs on Columbia, and Kenton was very much doing conceptual albums for LP with his post-Innovations, "New Concepts" band.. But most everybody was releasing singles too, jazz and pop alike. Ellington's Columbia singles would get orphaned for a decade or two, but Kenton's generally found their way onto a stray lp, quite apart from his "album" albums. Same thing for Sinatra, you had (and in the LP crates of today, still have) Sinatra Singles albums and Sinatra Album albums). But those are names...for the most part, it seems like albums started becoming albums fairly soon. Prestige worked the singles angle pretty hard, but the Blue Note "modern series", that was not really singles oriented, was it? How many Elmo Hope or Urbie Green singles did they release? also worth considering - Union rules regarding sessions, The standard (iirc) was 3 hours to get 4 cuts. Clearly geared towards getting 2 singles out of the gig. Looking at the discographies from these days, even as the focus shifted away from singles into LPs & EPs (which were really just LPs for people who wanted them on 45s for god know what reason), the pattern stayed the same a lot of time - three session trying to get four tunes. The "typical" 10" LP was 8 songs total, 4/side, sometimes less than that if the jams went longer, but never(?) more than that. The Blakey Emarcy 10" I have is all about that, but the Joe Gordon thing from just a few years later is the total opposite, really.

http://collectorsfrenzy.com/details/130582187863/Mambo_JazzPrestige_PRLP17110era_195354Billy_Taylor__Joe_Holiday Joe Holiday Prestige singles: 67: JOE HOLIDAY - This is Happiness/Mighty Like a Rose 772: JOE HOLIDAY - Mambo Holiday (part 1 & 2) 786: JOE HOLIDAY - Serenata/Cuban Nightingale 791: JOE HOLIDAY - Donde/Joe Black Mambo 815: JOE HOLIDAY - I Hadn't Anyone Till You/Blue Holiday 848: JOE HOLIDAY - Hello to You/Like Someone in Love 871: JOE HOLIDAY - Cotton Candy/And Now it's Love 878: JOE HOLIDAY - Besame Mucho/Fiesta 883: JOE HOLIDAY - Sleep/My Funny Valentine 887: JOE HOLIDAY - Martha's Harp/I Don't Want to Talk without You 897: JOE HOLIDAY - I Love You Much/Chasin' the Boogie 901: JOE HOLIDAY - It Might as Well Be Spring Bold = on PRLP 131 Bold Italic Purple= on prEP 1302 & PRLP 135 Bold Blue = on prEP 1305 Bold Italic Red = on PRLP 171 Bold Green = Apparently not reissued until OJC CD. EPs: prEP 1302: Latin Moods (Joe Holiday) http://www.discogs.com/Joe-Holiday-Latin-Moods/release/6271850 prEP 1305: Joe Holiday and His Band (Joe Holiday) http://www.freshsoundrecords.com/cp_images/6/e/c/c4662-2.jpg LPs: 131: Joe Holiday -The New Sounds From Newark (pictured above) 135: Mambo Jazz - Sonny Rollins, Sonny Stitt, Joe Holiday, Kenny Graham (also pictured above) 171: Mambo Jazz - Joe Holiday, Billy Taylor (pictured above, several times) and that's the end of Joe Holiday on Prestige. For Billy Taylor prEP 1327, that was recorded 5/07/53: http://www.jazzdisco.org/prestige-records/catalog-ep-prestige-1300-new-jazz-1700-series/ So that's what happened - Weinstock orphaned four cuts that didn't get reissued until the OJC CD. PRLP 171 was always a compilation of four Holiday singles with Taylor in the band (assuming that the singles were released first, which may not be the case) and a similarly-themed Billy Taylor EP. The cover art leaves no doubt about that. Apparently there was a "mambo craze" in the US ca. 1952-53, so that's what all this mamboishness was about, and it maybe also explains why those four cuts got orphaned, maybe the craze was over before they could get crazed on.

God, I love people who can remember at will.

The Astrodome was my cathedral. Space Age. Local. Best of Both Worlds, just not of All Worlds. Roy Hofheinz was my (allen) shepherd, I shall not win. He madeth me to lie down in green-ish turftures. His rods and his staffs, they tortured me. Lo, though I walked through the valleys of a ten team National League, I was not in last place. And then, 1969, the year the O's made it back and 1966 made some more sense. I liked orange, next thing I know, it was an Agent. Me, I blame Nixon. It's handy and you'll never be COMPLETELY wrong. Space age, that's a contradiction, is it not? NOW they tell me. Come back, Ed White, we hardly knew you.

Love-Lee.

Less than an hour to learn Duke Snider's hat size. Tell me that this is not THE best of all possible worlds!

Are we talking about biggest head in terms of absolute measurement, or baseball-card-looking big? Like this guy: vs vs, especially I think people could afford bigger heads back then because the earth was less crowded, so there was not the need to save the air space that there is now. also, fewer airplanes, satellites, and grackles everydamnwhere. A man could go ahead and rock the big head without fear of random collision (be it intentional OR accidental) with his fellow intraplaneteries. Plus, you know, it was The Golden Age Of Big Head Baseball Players, thank god we have it all captured on cardboard.

I mean, I get that this is "following" Gary Burton, but I never really dug Gary Burton THAT much, whereas Pike seems to have those roots that I like. OTOH, like him or not, Burton's voice was his own, for sure. But that's more about respect than it is like. Respect Burton a whole lot, just don't like him that much, I'll give him props from home. Pike Set, I might have gone to a bar where they were playing, hung out all night, have that kind of a good time. I guess there was this whole jazz-rock/psychedlic/amped vibe thing going on at the time that I'm still finding out about, who was that guy from Indy with the 19th Whole or whatever it was? And the Boston group that did the Hoagy Carmichael kid-song thing? all this stuff in the aftermath of Burton. Even Roy Ayers coming out of Herbie Mann, different flavor, but still aiming young. Who knew?

Did you ever make it to Briggs/Tiger Stadium, Chuck?

Chic was a core band long enough to matter. Nile Rodgers, Bernard Edwards, and Tony Thompson. Solid, quite often innovative music under the sheen. The way they took that stuff apart and put it back together ws pertty serious, even though the top sounded like it was anything but.

Looking at the 10" BN covers, I'm struck by how long the modern stuff carried with it something like "Modern Jazz Series" and/or "New Faces New Sounds", kinda like "Blue Note Hits A New Note" in the 70s, only...not. But with Gil Melle handling so much of the A&R (Ike had sorta gone under, so to speak, right?) in the early 50s, you almost wonder if Lion was really, REALLY sure that his future lied in these modern sounds, or, you know, I loved Monk, but how much more of that is there to get?. Maybe it was Herbie Nichols who made the esthetic convincement at the same time that the Messengers were making the commercial ones. Same thing with Riverside, those guys were pretty hardcore pre-bop fans, they didn't come to the bop naturally. Wasn't it Randy Weston who finally got to them and turned them around towards Monk, who had, as they say, become available? And from there, BOOM! Although he definitely had an eye for the hit, Weinstock seemed to be the only one of those East Coast indie jazz guys who "got" the modern thing from the get-go, at least once you get past the initial bop rush of the mid-late-ish 40s, when Dizzy was on RCA, Bird finally ended up with Granz (on Mercury!), Monk was a WHO? who else was there at the time that had a name? Getz? That guy recorded a LOT even early on, including for Weinstock. And soon enough, Granz had 'em all, except for Monk. So, market drives product, correct? For whatever reason, the popularity of the LP as a popular item of consumption pretty much coincided with the rise in popularity of the cool/west coast/whatever type of jazz, and the labels that were dealing with that thing in that place most certainly did put out 10" LPs that were presented as albums, not as compilations of singles. That environment was not hampered by nostaligia, ok? (Although, it seems that San Francisco was pretty much open territory for Brubeck and his crews, because the Bay Area was ALL about the Trad. But LA? Oh HELL no, them Kenton dudes were there to Create the Future And Call It NOW, and a lot of other people saw that wave, got a board, and got aboard. Note that "cool" jazz was originally an East Coast thing - Tristano, and Getz, and that Kenton might well have used the term "progressive jazz" after it was already being used, not sure about that though. Anyway, the buzzwords were "modern", "progressive", and "cool", and the West Coast had a machine ready to roll on that, while the East Coast...didn't. Not really, not like that. Factor in the still-prevalent and not necessarily incorrect perception that the modern jazz scene on the East Coast was, in general, the province of some seriously rampant heorinlife, and you know, who's gonna corral all THAT into a "brand". Remember how much was made of Clifford being clean, and how that coincided with the resurgence of East Coast Modern? Horace, a businessman. Max, a businessman who had tried his hand at the record business. Burrell, Byrd, all those guys...Hank said in his DB interview that BN always like to have at least one clean guy on every date. Even Jackie, pretty hard core fiend there for a good while, Jackie seemed like he knew the difference between Dope Life & Business Life. Not all that many guys did there for a while. So if I'm a guy who already has catalog, I'm NOT gonna be sure where the future lies, because all these motherfuckers are liable to turn up dead any minute now. Too many of the actually did, ya' know? Not an illusion. By the time the pendulum of "general jazz opinion" shifted back, or began to, the East Coast labels had a new generation ready to jump in and make those records all day long, and THAT'S when those labels began producing "albums" in earnest.

"LOS CUBBIES!!!!" "...PRIMERA VEZ!..." now what I did NOT know is that "swing and a miss" in Spanish is "swingandamiss!!!" one word. That must be that North Side Spanish! I know my Uncle Bob would be happy as hell right now if he was still alive, but then again, you can only ask people to live for so long, right? Not meaning to alienate any Mets or Dodger fans, but going forth, I gotta be GO CUBS! in NL, and barring the chef forgetting the double order of Texas Toast that's sure to come tomorrow, all the way into the WS if it goes like that. Oh, Iiked him too. I was going back and forth, just because I could. And because the "temperature" of excitement is different when you don't really understand the words..not better, just different. Even though AtBat lags behind the TV by almost 10 seconds, I wanted to hear it from people who really cared. It was fun. Also switched over to KMOX to hear, I think it was Mike Shannon, sound unhappy. That was fun too!

Using the AtBat app to listen to the Cubs broadcast from WBBM, seriously thinking about going over to WRTO for the Spanish broadcast if it goes the Cubs way in the 9th. AtBat app=ultimate transistor radio.

Something happened, you gotta look to find those things. We know they existed, and in many cases, sold pretty good, but let me tell you, I have seen pretty much every incarnation of this one EXCEPT this one. Now, part of this might be that the later 12" issues were able to incorporate a full program of Konitz with Mulligan, studio and live. This is just live stuff, with the studio stuff being on one side of PJLP-2. And there was more live stuff to be added, any way you look at it, it's a badass record, Kontitz with the Mulligan 4-Tet. But good lord, there were at least two US LP issues, and neither one is gonna be all THAT hard to find. But good luck finding a 10", I'm sure some exist, but where are they? And that's pretty much the case with all 10" LPs, regardless of idiom. It's like they all went POOF! GONE! I can still find some, but they're usually some barget budgment crap or something. Finding, say, a Sinatra Capitol 10" of Songs For Young Lovers, c'mon man, that record SOLD, so where are they now, even the trashed ones? I still remember my first case of 10" sticker shock in a "collector's" store, there was about 5-6 West Coast Jazz things, some people who I wouldn't give you more than original list prioce for, not the name players, just some guys who were there, ya' know? And this shit was going from $75 UP. The highest was, like $125 iirc, some borderline lounge pianist that wsa considered "jazz", not a name, just somebody who had a name due to birth certificate,. and I ask the guy, dude, wtf? this music is not that good to be getting that kind of money, and he just shrugged and said "ten-inchers bring the bucks". So, that was it. I know that the 12" was originally designed primarily for classical and Original Cast, but what was the pop catalyst that made everybody say, ok, done deal? Gonna roll the dice on Sinatra, maybe? https://en.wikipedia.org/wiki/In_the_Wee_Small_Hours totally speculative, but - April, 1955, people start realizing oh, you mean I just need to buy ONE record? Record companies saying, oh, you mean we can just press ONE record and sell it for HOW much? RCA says, ok, fuck it,we don't have Sinatra, Columbia says, we HAD Sinatra, we have catalog, but we invented this LP market anyway, so, really, what do we care? and there you go, the jury returns with its verdict - 45s for singles, LPs will be 12", now give us some records, we will buy them. Blue Note scrambles to not go under, Prestige realizes their shit ws just TOO damn ugly, let's repackage, EVERYBODY goes 12", Bullmoose Jackson suddenly feels inferior, world as we came to know it put into place. FIXED. 1955...Seems like that's around the time that 12" became more popular, and maybe that's what happened to all the 10", they were only the default LP option for 4-5 years, no matter whether the were reissues of singles or new programming. Event he ones that sold well, numbers made just not that many relative to subsequent LPs of the same material. I just know I look to pick them up when I find them for anything resembling reasonable, and that that is not even a little often.

That's the Norman Connors version.

The creator has a Master Card, pizza ordered up for all the yard! The creator makes but one demand, a decent tip for the delivery man! Happy birthday to a true master of tenor sonics, then and now.