medjuck

Me three. Likes a bit like the Roulette "Birdland All-Stars at Carnegie Hall" but with George Shearing and Erroll Garner instead of Charlie Parker and Billie Holiday.

I liked it and the dance scene could have gone on for another 5 minutes before I would be tired of it. BTW There's an interesting critique of it making the rounds by the guy who directed Sorry To Bother You which I also liked. It's a more interesting film but not as much fun.

IIRC they advertised it as Hermann's "last romantic score" I guess because Taxi Driver was his actual last score-- though I think it came out first.

Also check out the Vertigo theme. And Obsession which knocks it off.

Yes, I have it. (With my other Gil Evans cds.)

I didn't realize that they did so many sides during those sessions.

Do you know who played on or arranged that one?

What! You prefer "Kitty" to "Cowboy Rhumba"?

Nice appreciation of Avakian. Thanks so much.

$700!! How many cds were in it?

Edison's were 80 RPM!? Were they sold at the same time as '78s? Did people need different turntables or was the sound not that different? Maybe turntables split the difference at 79 RPM. (That's an attempt at humour.)

They're good. Some are of mainly of historical interest (e.g the march on Washington) but all are well chosen-- the best of the concerts they're sampling I believe.

Amazon: https://smile.amazon.com/Cutting-Edge-1965-1966-Bootleg-Vol-12/dp/B015LDCYDG/ref=sr_1_2?s=dmusic&ie=UTF8&qid=1535083463&sr=1-2-mp3-albums-bar-strip-0&keywords=bob+dylan+bootleg+12 I expect they didn't make the offer to cheap skates like me who ordered the download instead of the cds.

Hmmm I bought the complete vol 12 but as a download. (And a hard copy of the 2cd set.)

IIRC at the same time as the Smith/Ewell cd was made there was a CBC TV program made with them performing. I interviewed The Lion at that time (I'm embarrassed to say I didn't really understand his significance at the time). That program may still be in the CBC archives.

I just got the Bob Dylan Live 1962-66 set. The print on the notes is so small and blue on a black background (WTF!) so I can hardly read it. However It does seem to say of 8 cuts "Download from the Bootleg Series Vol 12. The Cutting Edge 1965-1966 Collector's Edition". What does that mean?

From his FaceBook profile: Louis Armstrong Historian, Author and Archivist; dedicated family man; piano abuser; donut enthusiast Director of Research Collections at Louis Armstrong House Museum And producer (with others) of several reissues, including the last Armstrong Mosaic.

Ricky Riccardi strikes again!

That's funny! Bur I think they're in the wrong order: I remember them as Huey, Dewey and Louis.

This may explain Avakian's decision to leave. BTW Did you find this just by Googling or is there a Billboard website that's searchable?

Does anyone know who worked for whom when George Avakian and Mitch Miller were both at Columbia? Avakian was supposedly in charge of popular as well as jazz recordings (he did discover Johnny Mathis) but Miller seems to have a pretty free rein-- he takes credit/blame for keeping Columbia out of the Rock and Roll business until the '60s.

I thought the original article was pretty good-- covered all the points that Myers brings up. And I'd argue that the Franklin sisters should get a piece of the copyright on their version just for adding the "R.E.S.P.E.C.T." All the Times article is arguing is that the original "only the writers get paid for air-play" was unfair. I've never studied the history of it but I presume that it's because when radio started ASCAP was more powerful than the AFM. As to whether she got a fair shake from Atlantic: I've always found it ironic that the Erteguns were so active in The Blues Foundation or whatever it was trying to get royalties for older performers when one of the companies the performers complained about was Atlantic. (I remember Charles Mingus complaining that he never got any royalties until RCA released Tijuana Moods. ) All this may explain why just a few years ago when I saw Aretha , a friend of mine who was playing in her band told me to watch her put her purse under the piano. Even then she got paid in cash and took it on stage with her.

One that I think has never been released on cd.

Yes! Though he's most famous for some of his shots of rock musicians (he took the one of Johnny Cash giving the finger) Marshall took some great photos of jazz musicians . His book entitled "Jazz" has one of Gil Evans I've never seen elsewhere. I was planning to buy a print from him as a present to myself but he died before I did so. (A friend of his had given me the book as a catalogue when he heard I collected photos of jazz musicians. )

OK I just looked in my Pepper Adams discography and not only does it give 1956 as the date but has a couple of quotes from Curtis Fuller that make it clear they thought they were getting Mile's group but Red never showed. (The quintet was at Storyville that week.) So just ignore my first posting here.