JSngry

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!

I'd sure be well-pleased if somebody would get her Tappan Zee sides out on CD, especially the one w/Joe Henderson (the tenor player, not the singer). That's some good stuff.

Looking for a gig in Texas, Karl?

Rather enjoyable!

And good luck on the gig thing.

Chuck (or Jack), off the top of your head, can you think of any other blue label Columbia 45s from about this time (1969)?

jeffcrom, what is the color of your label? I still think it's weird that this John Handy item was released as the sole (or at least appears to have been the sole) stereo 45 in a series of about eight. Not to say that all eight were released at once, probably not, but still, where's the other stereo Columbia 45s from that time? It's almost like this was an experiment of sorts, especially the notion of a John Handy Plays Two Hits Of Today type single that has absolutely nothing to do with the rest of his Columbia output. Oki, here's another variant of the Handy item: http://cgi.ebay.com/JOHN-HANDY-PROMO-45-LA...p3286.m20.l1116 This one purports to be a regular A/B side affair, nothing mentioned about stereo, but obviously a promo. So far we have three versions of this item - one with A/B sides (one stereo & one mono), and one stereo/mono A-Side on both sides. Jack says the blue labels were not uncommon, but I'm wondering what the difference between a blue-label & white-label promo might have been. Crazy stuff...

Thanks, Jack. What about a stereo Columbia 45 in 1969?

...and the eBay listing says that "Spinning Wheel" is on the other side. Wow... I've never seen that color scheme on any Columbia 45 from that time, nor do I ever recall seeing stereo Columbia 45s from that era. Then again, in 1969, I was still living in semi-rural East Texas had had very little access to trade publications of any sort. Now, I do remember Columbia mono/stereo 45s later on, as well as straight-up stereo 45s. But that was in the 70s and beyond. I've tried to get a clue as to whether this Handy item might have been part of a test series or something, but look at this: Columbia 4-44975 = BURL IVES Montego Bay/Tessie's Bar Mystery Columbia 4-44975 = DINO, DESI, & BILLY Hawley / Let's Talk it Over Can't find an image Columbia 4-44976 = STONEWALL JACKSON Ship In The Battle / Thoughts Of A Lonely Man Columbia 4-44977 = JOHN HANDY Lay Lady Lay/Spinning Wheel Columbia 4-44978 = RON DAWSON She Cried / Steel Rain Blues Can't find an image Columbia 4-44979 POZO SECO SINGERS Woman In Love / God Save The Children Columbia 4-44980 POZO SECO SINGERS Morning Mama Memories / Proper Mrs Brown Can't find an image for either Columbia 4-44981 JUDY LYNN Gentle On My Mind/America The Beautiful Nothing. So maybe Stereojack or Chuck or somebody else can clue us in on this? I sure seems to be an oddity, that's for sure!

I did not know that! Thanks for that.

A BULL!

Local 42 had different rules/scales for live vs recordings?