Dan Gould

AFAIK Tad did not slap together the self-published Listening to Prestige volumes and call it a book.

I helped the author - providing recordings and photos - so I plan to pick this up probably out of Christmas Amazon gift card. I don't know if it will be at the top of my reading stack but I will post when I get to it. BTW I started a thread in the Jazz in Print subforum.

I just mentioned it because I was reading in the NYT about drones, they answered a series of reader questions about them and one was what about shooting them down. I think it also said that your drone operator has to be in sight of the drone at all times, so how exactly is Amazon doing this in a cost effective manner, I wonder. I mean is it that much easier to pull in a development and dispatch drones for the Last Mile?

Anyone who shoots at a drone is guilty of a Federal crime. You'd be pretty stupid to do that though I imagine that it might be hard to know who did it if you don't also have eyes on the property from whence the shots come.

https://sunypress.edu/Books/L/Listening-to-Prestige Also available thru Amazon and shipping the beginning of January. While I am not finding the thread, his prior effort Jazz With a Beat was discussed here earlier this year IIRC. Definitely a will-buy and sooner rather than later.

I am torn between a standalone article that goes into greater depth - and which I would need interest from a periodical to be determined - versus incorporating the story in a more simplified way into a Percy France profile, which I already have interest from two different publications, Hot House and the Syncopated Times.

So would anyone be up for an in depth article about how Honky Tonk came to be? Next year is the 70th anniversary and it was the first #1 single by an identifiably "Jazz" group (according to Schaap, the only one to match was Louis with "Hello Dolly"). There's also the fact that Percy France insisted that the song started while he was still in the band. So the history is somewhat muddled - and I have acquired a good bit of info in the last week or so (Schaap interview of Doggett and NAMM interview of Shepherd).

If he were, a little late to ask. Well this is an issue of musician recollections anyway ... Shep Shepherd said the tune was tossed off at the end of the session because they needed one more. Doggett is equally certain that the session was for this soon-to-be million seller because he had let slip at a gig in Cleveland that this was his new single, and the local record store had 150 pre-orders, called King, asked for Honky Tonk and was told that it didn't exist. Until then, Syd Nathan was pushing back on the idea of a two-sided juke box single because it would mean two slots out of 50 instead of one - a tough sell to jukebox operators. 150 preorders convinced him that Doggett had a tune with potential and greenlighted the recording.

Hi Andy. Not sure what you mean by "this" but ... as far as the Sidewinder session goes, the title track is listed next to last, not the last recorded released take. To the general question, I am looking into how Bill Doggett's Honky Tonk came to be and drummer Shep Shepherd completely contradicts Doggett's story about a sort of immaculate musical conception on a gig in Lima, Ohio, he says it started during a rehearsal and that some time later the band needed to record another song and Doggett asked the band about that "honky tonk type thing you were playing before" and they recorded it and to Shepherd's surprise, it was a sudden, surprise hit a few weeks later. Ruppli shows Honky Tonk Parts 1 and 2 as the first tunes recorded at their June 16, 1956 recording session which contradicts Shepherd's memory.

Probably a silly question but just to verify, label discographies organize sessions by recording order, right? So if "Honky Tonk" is listed first in Ruppli, it was first song laid down. And I guess, similarly, the log for what became The Sidewinder would show the title track as the last tune since Lee composed it at the very end to get an LP-worth of music done. (Actually looking at the Lee Morgan Discography project page, Gary's Notebook was the last tune recorded. Is my assumption wrong or is the story of how Lee composed it not really true and actually easily controverted by the session log?)

I really need for the Yankees to miss out on Tucker and then see the Mets snap up Bellinger. I'd even take the Evil Dodgers throwing insane money at Tucker until he says "yes" over dealing with Tucker, still in his prime for at least 5 years, in the Yankee lineup.

Stunning news last night (not sure if the news one will be accessible, there was no link to "gift": https://www.nytimes.com/live/2025/12/15/us/rob-michele-reiner-dead/rob-reiner-home-bodies?smid=url-share https://www.nytimes.com/2025/12/15/movies/rob-reiner-dead.html?unlocked_article_code=1.808.kTpp._C9XZSl67Blz&smid=url-share His streak of films starting with Spinal Tap in the 80s-90s is pretty remarkable (although I only hate-watch A Few Good Men - a minority opinion but so much of that movie is just awful IMO.)

Been hoping Jomboy would do some older video breakdowns. this is an instant classic 3:47 had me laughing. and Joe West was an a-hole his entire career.

Guess I should have said "historic recordings aside ..." Obviously things like Charlie Brown Christmas and Nat Cole's recording stay in print or get the deluxe treatment. But where is the average jazz Christmas recording that gets reissued?

https://www.tamupress.com/book/9781574419825/have-horn-will-travel/ https://www.amazon.com/Have-Horn-Will-Travel-Musician/dp/157441982X/ref=sr_1_1?crid=ZZ8CKXRKQ5MR&dib=eyJ2IjoiMSJ9.S4G-m53Z6cKBKSfueHAcWGSFO1Dqf0I6iQ1uuSgJWr7GjHj071QN20LucGBJIEps.7w7b3-2khXs50zb2qwU_iq5NYEESUF5r0pPBpXRIP_M&dib_tag=se&keywords=have+horn+will+travel+junior+cook&qid=1765134021&sprefix=have+horn+will+tr%2Caps%2C130&sr=8-1 I started conversing with the author after I posted a photo/recording of Junior Cook from the Leonard Gaskin Papers held by the Smithsonian two years ago. Definitely interested in this ...

@neveronfriday Thanks very much for all your posts about Guy.

Has there ever been a case of jazz Christmas CDs being reissued? That would be a new one on me. and yes, d/l available, how many people really care especially for music of such a specialized and time-sensitive type? Given the state of CD sales I would venture to say that a CD reissue of this material is not financially viable. If the family owns the rights they can spend the money on trying to reissue it on Bandcamp but if they are the source for the Amazon D'L then it surely looks like they have made their economically viable choice.

Haven't you answered your own question of why its never been reissued? From what you have been posting I assumed this was a super terrific Christmas set and impossible to even hear.

I have this - FREE to a good home in the continental US. Actual shipping elsewhere. PM me if you want it.

I just want to say as a regular compiler that while participation is down, we are fortunate to have @JSngry @tkeith @Joe and @webbcity as regular participants as their ears are a serious cut above.

Remember I was catching up on work email after a long break (plus a gusher of requests from those emerging from their extended coma). Distraction always help lighten the burden. Like when I am dealing with work but have my tunes on in the background. I might have figured out "Little Sunflower" eventually ... I associate with Cedar because I think he played it quite a bit. A tad ashamed not to recognize or have any inkling of Houston Person on there.

Your words of the day: Offensive/Inoffensive. That's the best way I can describe a Felser compilation. Listening to his BFTs over many years now, for me it reinforces the "music of my youth" cliche and today I was wondering, if I were his age, and he mine, would we have the same radical differences of opinion, only from a different angle of opposition? It has to be recognized that the jazz I like was not in any way the music of my youth, but I did come to the music when neobop was in its ascendancy, and my earliest listening was a mixture of classic swing and bop/hard bop. Something I pondered while swinging between degrees of offense. On to the specifics: TRACK ONE: I think you had to be there. Is there a jazz connection here aside from the sort of scat the vocalist briefly attempts? Inoffensive: **. TRACK TWO: Sunrise, Sunset? After two minutes I want to say NEXT but I did persevere (work emails helped distract). Is that Elvin? Piano is better ... I think because it is much harder to make ugly sounds on the piano (if you stick to, you know, the keys). Offensive: Zero stars. TRACK THREE: Not my style of piano. Inoffensive: ** 1/2 TRACK FOUR: Really had to be there. What the hell is he singing about? Offensive: * TRACK FIVE: No notes taken, so ... Inoffensive: ** TRACK SIX: See #4, but final evaluation is Inoffensive: ** TRACK SEVEN: Oh hell no. Offensive: Zero stars. TRACK EIGHT: Following up one of the worst with the track for me? Is this a Cedar tune? Hutch? I don't think its his regular partner Mr. Land on tenor. Neither offensive nor inoffensive - *** 1/2 (1/2 star removed for the congas which rarely thrill me that much) TRACK NINE: When the band came in .... I went out. Offensive: Zero stars. TRACK TEN: Wait a sec this is obviously the Dan selection. Doesn't thrill me the way Gene would. *** TRACK ELEVEN: More vocals I have a hard time understanding ... Inoffensive: ** Thanks Mr. Felser and remember, if you were offended by offensive/inoffensive, you always get the last word since my BFT follows yours.

Shocked that (at least) the first tune by Mr. Madman didn't make it on to a Stompin' compilation as its right up their alley.

Now Jimmy Heath has made an appearance: https://aviary.library.vanderbilt.edu/collections/2137/collection_resources/163542

This one surprised me, just uploaded: Eddie Bert/J.R. Monterose Quintet, Sept. 20, 1991 https://aviary.library.vanderbilt.edu/collections/2137/collection_resources/163541