JSngry

"Industry sources" tell me that Freddie got his money for this release in advance, before he died, in order to defray medical expenses, and that there are also plans to, if possible, "overpress" so tha tFreddie's widow will get a much-needed publishing royalty upfront. In other words, this ain't no cheap exploitation release. As for the rest of the Jazz Wave Ltd. concerts, that's something I had asked Cuscun about a long time ago, specificiallyto find out if there was more of Joe Henderson playing w/Thad & MEl (the one released cut is smokin', as they say...). He said then that there were money issues on that tour, and no small amount of bad feelings towards Sonny Lester as a result, so probably no further issue of JWL material. But here we are. Time changes things sometimes,

As did I, and for some reason I'm not too upset by that, not like I was when I had to miss the Roach set. I mean, I know it's all good-to-great, but I was not distressed by letting those who really wanted it have it. Enjoy!

About the label: http://www.salandmusic.dreamhosters.com/

Ditto Myron Cohen.

Don't know about "like this", but Dufo can be found here: http://www.amazon.com/gp/product/B001B8675...TF8&s=music

Yeah, I've long known about the Cox/Brando friendship, but this is the first time I've heard anything to make it seem really "plausible", is you know what I mean.

http://classicshowbiz.blogspot.com/2009/03...y-guy-1951.html

up again!

Woody's version was recorded, as an instrumental, for Heavy Exposure on Cadet. It was, in fact, the opening tune of the album. Donny is listed in the personnel as playing organ on the album, so there's another trivia question for further on up the road... Donny's version, a vocal, was done on 1973's Extensions Of A Man. Both versions are, in their own way, superb. The Woody cut is one of his best-realized late-60s attempts at getting a "now sound", and Donny's version is, well, Donny, 'nuff said. Either way, it's a pretty neat tune in and of itself, and could easily be brought into any number of jazz repertoires w/o too much difficulty. Thanks to all for playing. The back story to "Caledonia" was an education!

Here's a hint - the song in question was recorded/released by Woody sometimes in the 1960s, by not by its composer until sometimes in the 1970s. This might make it too easy, but hey....

No doubt. But we still have no answer to the original question!

Hmmm, I did no know that! Interesting, but ultimately wrong. If Jordan had actually recorded it before Woody, then the Jordan performance would still be the debut "performance", and the Herman would then be the debut "issue". All of which is a CYOA way to say that this is not the answer I had in mind.

Q: What original composition by a beloved R&B star received its debut performance on a Woody Herman record?

Thanks, folks, this is all very interesting and is definitely enlightening. The question was prompted while listening to some Gal Costa last night, and I probably should have asked it, like, 30 years ago or so. But, better late than never.

Several times, actually (Jones-Lewis & Braxton immediately spring to mind), but they were suggestions that I made back in the 1980s & early 1990s, so they were probably going to do it/get to it anyway. About the Braxton - I first raised the issue w/Cuscuna in, I think, 1990. His respoonsewas interesting. He said something to the effect that he knew in his heart that it was going to have to be done eventually but that right now he was still trying to get some emotional distance from it. From the sound of things, afdter the first year or so, getting thoise albums made and released was not without some degree of....adventure.

Do the Portuguese people speak it with the same rhythm, accent, and flow as do the Brazilian people? As always, thank in advance!

I've no problem at all with any Grant Green on Blue Note.

Also adding that in many ways, "Pop" & "Music" are examples of the complimentary opposites that make up yin & yang, and that therefore the presence of one in no way negates the possibility of the other, nor does if preordain any set proportion thereof. In fact, one might posit that any work which perfectly balances the "yin" of "pop" with the "yang" of music is bound to be that rarest of creatures, an enduring "popular hit" which also holds enduring "musical worth".

The "Pop" in "Pop ______" tends to be socilogical and/or genre-specific in significance. The ______ is something else. Over time, the Pop will filter upwards or downwards as the ultimate signifier of "worth" of an item. For instance (and admittedly subjectively) something like Pet Sounds today has infinitely more worth as "music" than as "pop". And something like "Surfer Girl" has infinitely more worth as "pop" than as "music". EDIT to add that the above "filter" mentioned above can be administered on bot a collective and individual basis, and simultaneously or separately. In short, if you know why you say it, it pretty much is what you say it is, at least within your own world.

Have you ever been the last man standing in a room full of enraged, angry creeps? All making fun of you and trying to embarrass you, your family. Telling you everything you know and love isn't real? As they step on your head and spit in your face -- you stand up, smile -not a grin- a smile. A beam of light, so bright, it shatters their facade and says: "you lose?" That's Louis Armstrong. Consider the same situation, and instead of getting up with a smile, the same person gets up and says ,"later for this crap" and builds a room inside the first room, a room where only what he wants to get in gets in, and he gets out of the room only when he wants to get out. This guy lets pretty much everything in except, very rarely, hurt, but he carries, carries deeply, the hurt from the time before he built his room-within-a-room. What he lets get out of the room, either carried by himself or others, is so overwhelmingly brilliant and powerful that all but the most willfully ignorant recognize it as the brilliance that it is, and therefore those who had previously inflicted the hurt are shown to have been the beings of lower intellect and character that they in fact were. Once again, they lose, only the message is carried by implication and inference instead of first hand, becuase hell, what's the use in getting beat up by these clowns yet again? If anybody's going to do it, let it be done by yourself. That's, for instance, Charlie Parker. In both cases, though, what's perhaps not being examined is what gives these people the gumption to not stay down when beat down. "Triumph of the human spirit" and such only gets us so far. I myself prefer to look at it as confirmation of the unity of life, how the uplift of the yin and the downward pull of the yang are of one larger piece, a piece we can call, for lack of a better term, "life". Both forces are constantly at play in everybody's life, including/especially our own, and knowing what's going on, either intuitively or consciously, or a bit of both, gives us the potential power to not get beat down and put down for good like so many others, but instead to fight back and redirect the forces at play to a more positive end. Music is only "music" up to a point. After that, it becomes a part of "life" in a quite literal sense, and then it becomes as serious/frivolous/whatever as you care to make it.

up!