jtaylor

When the disc was first advertised, no photograph of Cole from the actual concert had yet been located. Thus, a shot from around the same time period was planned to be used as the best available option. Fortunately, a 'Popsie' photograph was located at the last minute and used as the cover (and included in the liners).

Thanks for the thread. Good stuff! For those of you interested in how the mono mixes differed from their stereo counterparts, Analogue Productions will soon be releasing a handful of Nat Cole albums, mixed and mastered by Steve Hoffman. Of special interest is that four of the albums - LOVE IS THE THING (1956), JUST ONE OF THOSE THINGS (1957), ST LOUIS BLUES (1958) & THE VERY THOUGHT OF YOU (1958) will be issued in both stereo and mono, the mono mixes being presented for the first time in 50 years. Also included in the set are albums that predate stereo (AFTER MIDNIGHT) and two later albums that did not have dedicated mono mixes and will therefore appear only in stereo. As best I can tell, Capitol did away with the dual-mic setup and integrated the separate control rooms around 1959. Seems by the time Sinatra recorded NO ONE CARES the integration had taken place; definitely by the time Nat Cole recorded WILD IS LOVE in March 1960.

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Absolutely. He contributed excellent notes to the Nat Cole Bear Family boxes, an assignment I cannot imagine going to anyone else.

Jeri Southern at the Crescendo

Trying to get in touch with Bobby Bryant Jr. If anyone knows how, please send me a PM. Thanks.

As others have correctly pointed out, that is indeed Lee. Young played drums with Nat from 1953-1962 and also served as something of a musical director while the group was on the road. At times he would conduct from the drums, which, needlees to say, didn't help his drumming. His association with Nat predates 1953. In the period before Nat began utilizing orchestras exclusively in his recordings, it was typically Young who stepped in and added drums to the trio. He also joined Nat for the first JATP concert. The personnel given by Marcello is correct. On that particular episode of Cole's show they recreated the set of his then recently completed film, ST. LOUIS BLUES. Most of those guys also appeared in the film. The picture with Lee and Nelson Riddle is also from Cole's show. Riddle conducted the show. Young did not do much, if any, recording with Riddle outside of his association with Cole. Riddle would usually employ Stoller or Cottler, not Young. As far as I know he is still living, now in his 90s.

Also worth searching out is a Herb Geller date, Fire in the West on Jubilee, probably around 1957. It features Geller, Harold Land, Kenny Dorham, Ray Brown, Lawrence Marable, and Lou. It's been getting a lot of play around here lately, particularly "Jitterbug Waltz."

He also did a set for Pacific Jazz called Swingin' Standards using what was essentially the Terry Gibbs Band. I've never been a fan of his writing, especially his work with Ella and O'day. According to Milt Bernhart, the feeling around town was that, at least initially, he was trying to copy Nelson Riddle. A great story exists about he and Billy May who apparently didn't care for Bregman's work or arrogance.

Big Beat- Thank you for this! Bush, Collins, Harris, and Young were all Cole's personal musicians. They would have only played during Nat's set. Your magazine doesn't list any other engagements, does it?

Thanks everybody for the responses. It all helps.

The new Mosaic has the following personnel listed for a February 1960 session in Paris: Lennie Johnson, Benny Bailey, Clark Terry, Floyd Standifer (tp), Jimmy Cleveland, Ake Persson, Melba Liston, Quentin Jackson (tb), Julius Watkins (Frh), Porter Kilbert, Phil Woods (as), Jerome Richardson, Budd Johnson (ts), Sahib Shihab (bari), Patti Bown (p), Les Spann (g, fl), Buddy Catlett (b), Joe Harris(d), Quincy Jones(arr, cond). Barclay Studios, Paris, February 27,1960 Is it reasonable to assume that this same lineup was with Q when he backed up Nat Cole during his European tour in May 1960? If not, anyone have any further details? Many thanks.

The track that is missing is the album version of "You're Looking at Me." Cuscuna accidentally selected an alternate take, believing it was the only one in the vault. There is at least one other instance where this happened on the Mosaic set: "I'm an Errand Boy for Rhythm" is also an alterante; the master was initially released on the 10th Anniversary Album, but was missed when the set was being put together. Also left off the set were the bonus tracks that were included on the CD version of Penthouse Serenade and the live performances from the Circle Room. However, a few performances where Cole was thought to be playing piano (but wasn't actually) were included so it kinda balances out.

Charlie Kennedy Oops. Guess I should have noticed that he was already mentioned.

Sounds more like Bobby Bryant than Sweets to me.

Correct. Much of it has not seen any release, if at all, since the original vinyl. Others, only on budget European labels.

Don't I wish they would! I highly doubt it, especially since ALL of the material from such a box would be PD in Europe already. It needs to get done, though.

I would say no. It's a good album and features a few nice moments for Carmell Jones and Harold Land, but that's about it. More Nancy than Gerald. But for $.99, why not?

E-nuh-vold-sin That was the way one of his former colleagues pronounced it to me.

E-nuh-vold-sin

Check out his work on Nat Cole's After Midnight

Onzy Matthews...nice!

Glad you were able to squeeze in a program devoted to Central Ave. and were also able to include the Collette Audio AutoBio; I interviewed Buddy years ago and he remains one of the most gracious musicians I've encountered. Thanks for this. Jordan

This is what you're looking for:

Check out "West Coast Jazz" by Ted Gioia. Not perfect, but a pretty good read. I second that. It's as good as you're going to get on the subject. Discusses many of the figures who certainly were not "West Coast Cool" but still a vital part of the LA scene.