JSngry

impulse! really went after the then-college crowd. They tried, really they did.

https://www.discogs.com/Jackie-McLean-Tina-Brooks-Street-Singer/release/6024356 It's the full session of the Tina Brooks half of Jackie's Bag.

Not Ruby, My Dear. See this: http://peterspitzer.blogspot.com/2018/11/monks-dreamland.html?m=1

Also

Surely some of these songs have lyrics tucked away somewhere?

Finally, in the ‘90s and early ‘oughts, the Black Jazz catalog emerged on CD in Japan; but for the most part, the entire label’s output was never reissued on vinyl anywhere. Awwwww...the entire catalog was available on domestic CD for a good while in the early 90s Maybe not in a consistent business sense, but they were there to be had, the same guy licensed them to Snow Bird in Japan. And then the masters were for sale on Craigslist!...why is that part of the story not included, as long as the story is being held? Why does everything now have to come with a selective back story that distorts the reality of a situation and makes itself appear more heroic than it already is?

Perfect.

Criss was in with Norman Granz at one point, actually did some sides of his own for Clef in 1949, but, you know, Bird, YIKES! Then...comes 1956(!) and three albums for Imperial (maybe courtesy of Ricky Nelson?)...fast forward to Don Robey & Peacock for an album in 1959...then a 1963 record in France...finally he finds Don Schlitten (or they found each other) in 1966... I get that Bock needed to make Bud Shank records & Koenig Art Pepper records, and I get that Criss might have difficulties of various types, but jeezus...it is not an accusation of racism to note that the people who were the main creators of the Los Angeles Jazz Recording Infrastructure were not looking at the overall talent base of the city when building their catalogs. Teddy Edwards did indeed record for Contemporary - starting in 1960. Somebody like Criss or Edwards might well have had the support of a different type of infrastructure had he lived elsewhere. But hey, home is home.

Listening-able!

Sure, but that doesn't answer the question of how Frank Morgan hooked up with Gene Norman. Was he actually working at the Crescendo, or what?

Feels like it would have been one to be in the room with.

1957 - after the Hard Bop Big Bang, and while they were at Columbia. The band had a brand name now! per: https://www.discogs.com/The-Jazz-Messengers-Featuring-Art-Blakey-Ritual/release/7029816 Notes This album was produced for Pacific Jazz by George Avakian in exchange for a Chet Baker album produced for Columbia Records by Richard Bock

Nice try?

That PJ record puts me in mind of how when foreign royalty comes to town, the social protocols are to have them meet with the various dignitaries of the community, and of course, what community you are in determines who you think your dignitaries are.

Because that's how records get made.... The Brown/Roach band began in LA, iirc? With Teddy Edwards a.o. Then there was some sort of shakeup where Harold Land came in before the band went out on the road. And then, history. Didn't Roach take the Lighthouse gig when somebody took a break? And then once out there, called for Clifford to make a band, etc.? Trying to remember all this and maybe getting it wrong. No matter, that was the beginning of the shift, one of them anyway. Bird's drummer came out there, had his act together, and hey, how do you deny THAT? And then, Clifford Brown, again, clean and together in every wayhow do you deny THAT?!?!?!?!?!?! Brown/Roach, Blakey/Silver, all of a sudden(ish) popular jazz tastes were ready to add something "different", and Max with the Lighthouse Allstars wasn't it. 1954-1956, definitely a shift, not all at once, but a trend that kept trending to the point where I remember reading a lot of contemporaneous press about the Hard Bop "fad", "craze" whatever.

A quintessentially American place to be!

Taken with or taken in by? Either way, a quintessentially American place to be...and yet we love!

Frank Morgan...without knowing the day-to-day particulars, could Gene Norman have kept him active enough to matter? Or was that guy going to end up like Art Pepper anyway, only without the extended grace period(s) no matter what? For that matter, how the hell did Frank Morgan hook up (no pun intended with Gene Norman to begin with? It does seem, from a casual look, that the oppressive environment by/of the LA Police made the whole narcotics thing more harrowing than it did farther east? Not to say that it was easy there, shit, look at Gene Ammons, look at the whole cabaret card thing, but you can see enough stray records in the 1950s on eastern labels that you just don't see from LA labels. And then there's the cultural aftershock of Stan Kenton...let's not talk about that other than to acknowledge that it happened...

To broadly paraphrase Brew Moore - anybody who doesn't like Fathead is wrong.

Do cows eat fish? Probably not? Of course, fish don't eat cows, unless they fall in and sink, in which case, hey, shit happens, and those bigass catfish weren't born that way, right? Just feed the cows, ok? A skinny cow is a REAL downer. And keep the water clean for the fish. Fish are delightful, alive OR fried!

My point was - and has been from the beginning - that the relative lack of exposure of African-American LA Jazz on labels like PJ & Contemporary was a simple matter of those labels having sprung up to document a certain scene, and then they were fed from within that same scene, because that's how shit works. Go with what you know and who you know unless and until something else comes along. Basic business, really, I mean, did Specialty rush out to record Lighthouse offshoots? Of course not, why would they? Also part of the ongoing point is that labels like Contemporary & PJ didn't really begin to actively engage in African-American talent until after the Hard Bop Breakthrough of SilverBlakeyCo, once it was established that, ok, THIS is what people are going to buy now. Note that this did not manifest itself in a curtailing of recordings of existing talent, just as an expanding set of faces/names/expression. It's really not complicated either - instead of looking at the labels' cumulative output, trace it chronologically. The shift in tastes - and catalog - is right there in plain view. Oh, by the time it was over, Richard Bock made ALL kinds of records, that guy was eventually eclectic like a mo. But it took him the better part of a decade to start moving. Dude must've dropped some acid one day or something. see for yourself: https://www.jazzdisco.org/pacific-jazz-records/ same thing for Contemporary: https://www.jazzdisco.org/contemporary-records/

Rusty Bryant! Wilbert Longmire! Hank Marr! Taylor Orr! Taylor Orr? No matter.

How are Perry's cows doing? Are they still in the show?

on the Grits label.