Big Beat Steve

Those are the same titles as the French Vogue 10" release (7 titles in all - the UK releases tended to mirror their French counterparts) - what I need are the 6 US titles (Lee In Paree, Ballad For Ruth, You'd Be so Nice To Come Home To, I'll Remember April, These Things & Josh B'Gosh) Thanks so far!! Now you got me puzzled, for example ... These tracks are already partly there ... "You'd be so nice( to come home to)" and "I'll Remember April" are indicated in the Vogue 10in UK listing by BillF above. Which leaves 4. As for these, check out the liner notes of this music on "Ezz-Thetic" (Prestige LP 7827). It says: "I'll Remember April ... was issued in France as Lost Henri. Its Roost counterpart was called Lee in Paree." "The two takes of These Foolish Things have been known as These Things, 4 P.M., Ballad for Ruth and Lee-Tchee in their various incarnations." "Lee has long loved to pay All The Things you Are. When first released these versions were concealed under such titles as Josh B'Gosh, Record Shop Suey and Young Lee." So this accounts for all of the six "US titles" you seem to be looking for, right?. The liner notes of the vinyl reissue "Young Lee" on (French) Vogue 500105 seem to confirm these retitlings. Seems to me like a case of alternate takes (or maybe even one and the same master on diffedrent releases) receiving various bogus titles through various releases. I haven't done any aural comparisons but To me it looks like they are covered by the two abovementioned LP reissues on Prestige and Vogue as they total the number of versions of the 4 "actual" tunes you list in your opening post.

Sure. An economy can thrive on selling (yet more) mugs with the (soon to be outdated) picture of an infant ...

Kurt. So he (or rather his parents) can show there are some musical inclinations to soothe the rock tastes of a generation not so far ago and not that old yet. Other musically inclined "king"-ish names such as Crimson or even Perry or Kolax might be a bit too far back in time by now.

Has anybody from the (former) Monty Python crew weighed in yet with their comments? I'd bet what they have to say would be a hoot!

None of it included in Mr R&B's 'Be baba leba' compilation. But it's only an EP. MG You'd need to check out her OTHER Mr R&B album: New Million dollar Secret (on Whiskey WOmen and ... KM-707). Half of the EP is on there: All I Ask is Your Love (after-hours slow blues, as the title suggests) and Woojamacooja (nice danceable mid-tempo)

Not likely we're going to see a Prince Guy, right?

Good to see they did use repros of the original covers for the Boplicity vinyls of the Dootone series (as they did on Fresh Soudn which must have been more or less contemporary). I remember other Boplicity vinyls left me unimpressed (e.g. the Pepper/Baker "Playboys" 80s pseudo New-Wave-ish cover - nothing compared to the original cheesecake cover on WoPa. ).

O.K., that settles it ... the R&B output of the label will be (has been) taken care of very well ... I wasn't too impressed with the cover artwork of the Boplicity LPs in the 80s. Sort of nondescript cheapo and not evocative of the contents. Hope they do a job this time that matches that of the Ace CDs.

The Fresh Sound reissues of these sounded quite OK to me. But they shouldn't stop halfway. Reissue the RB& stuff, eH? How'about it?

Wouldn't a needle-drop still have been far better than skipping it? Now where's the outcry of the completists?

Wasn't it rather some form of "hydrocephalus" that he suffered from in his later days which ultimately led to his mental degradation? This is what his Wiki biography entry says. Not that I would always take Wikipedia as a 100% reliable source but the description of this disease corresponds to how he was described in his "final phase" in a very old post/thread somewhere here on this board several years ago.

I may be mistaken about the exact Charing Cross Road location, I only remember discovering Waterstones in the mid-to late 90s at a site surprisingly close to Foyle's (which left me wondering how both could thrive in such proxmimity, even in this "book shop district"). Haven't been to London since the yar 2000 so was wondering, but if they only closed down certain sites this answers my question.

Great move. More power to him! Waterstones (Charing Cross Road, right?) is gone too?

The real deal he sure was. "Pee Wee Get My Gun" was an ear-opener for quite a few fans of boppin blues sounds around here. Hard to imagine something like this could be committed NEW to wax and wasn't a reissue/rediscovery of electric blues of the late 50s or early 60s. At times he even made Elmore James or Hound Dog Taylor sound almost mild and restrainted compared to him. Tuff stuff ... RIP

Far tooo many cigareets!

OK OK, the bottles are out in the back (cover):

You're sure this is a BUS instrument panel?

Amazing that none of the BN completist geeks around here have come up with this one yet: Some more:

The real thing now: Back cover but anyway ...

Claude, the discography that came with the Mike Hennessey book WAS COMPILED by Michael Frohne. I haven't seen a separately published version of this discography but to me this looks like it is the same thing (since it has the same compiler).

I don't have this "discography with CD" but the "discography on CD". The CD with Klook's discography is included in the German translation of Mike Hennessey's Kenny Clarke biography published in 2004. I haven't worked with this discography so far but judging by the few impressions I got of the research involved when the discography was drafted it seemed to me like it was going to be the result of extremely thorough research.

Working oneself into a frenzy about a scant few members of the audience taking pictures? Artistic sensitivity ...my eye! I'd venture a guess with most "artists" who act this way it's more about controlling how one wants to be seen and which (contrived) pictures one wants to sell as exclusive (!) merchandise to a gullible audience (little importance if Jarrett indulges in those commercial strategems ... the mindset (of how to hold the audience hostage - as if the audience is there to please the performer, disregarding the fact that it is a give and take BOTH ways) is almost the same. I used to take lots of pictures at concerts (but have cut down on this quite some time ago, mostly for reasons of convenience and oversaturation) and do not pretend they will ever serve any purpose but to fuel my own memories and those of my friends every now and then about concerts we attended some 10, 15, 20 or 25 years ago, but I sure am glad others took pictures privately to capture moments of musical history through the decades (where no other photographic records exist - no professional ones, in particular) that have since been assembled in books on specialist musical subjects for posterity to enjoy. Jarrett plainly has a major problem, that's all. More or less like Klaus Kinski (if not even worse) in his stage behavior towards the audience in his day. BTW, I wonder if a 1000-sensitivity film would have been able to capture something of substance even under these measly illumination conditions? I hope some adventurous soul will try it at the next Jarrett concert!

A question re- a bit of Lee Morgan trivia: While browsing through a 1956 copy of the French jazz mag "JAZZ HOT" the other day, I noticed a news item on a tour by the Dizzy Gillespie orchestra, and in the line-up one of the members of the trumpet section was listed as Lee "Howdy Doody" Morgan Was this a nickname commonly tagged on him in his younger days?