Pete C

I'm in total agreement with Dan Gould.

Saw them last summer at the North Sea festival. Only difference was Drake instead of Nielson-Love. It was a spectacular set full of sonic variety. Personally, I don't care for the trio--I find too much monotony in the sound and fury. I'm skipping the NY show tonight, and really looking forward to Fred Anderson's visit next month (I don't know whether Aoki or Parker will be on bass).

Don't forget that they're on Emusic too, and that could change (though perhaps not if Concord were the buyer). I downloaded several hundred Fantasy catalog titles when Emusic offered unlimited downloads.

I thought American Singles referred to "pasteurized processed cheese food."

How about throwing in dinner at Two Toms?

Tom, you're being very unfair to Chris. You forgot Mark Murphy.

I think of "historic" South Brooklyn as Carroll Gardens, Gowanus, Red Hook, maybe Sunset Park. I'm in Park Slope, and I grew up in Midwood. I think when the term South Brooklyn was coined what is now geographical south Brooklyn was a bunch of farms and independent villages.

Clementine, off topic, but I never thought of Bed-Stuy of South Brooklyn.

They did a duo thing last May in NY. It was excellent, and the audience was a musicians' who's who.

I generally don't like Hibbler, but he's so wonderfully over the top on that one that I love it.

I'm mixed on her, but I highly recommend the live album she did with Carmen McRae at the Great American Music Hall. The interplay between the two of them is a ball.

I don't much care for Ellington's male vocalists. Betty Roche, however, was one of the great underrated female vocalists. Her 2 prestige albums are really excellent. I haven't heard her Bethlehem material.

I've seen him twice at LCOOD. TO have any choice of seats you have to get there about 2 hours in advance. I think the best seats are a couple of rows in front of the sound booth.

The Atlantic story I've read in several books on soul music & the Memphis music scene. Apparently, the Stax people thought they had a purely distribution deal with Atlantic, but buried somewhere in the contract (and apparently Jerry Wexler may be one of the guilty parties) was a clause that gave Atlantic ownership of the masters. I don't know the technicalities, but I think this came to a head when Warner bought Atlantic, and Atlantic ended up owning all the pre-1968 Stax masters, which is why all those Otis Redding albums are on Atlantic. I'm pretty sure it's all covered in Peter Guralnick's excellent Sweet Soul Music.

Do you take requests? Slam Stewart.

Only recently did I get over my resistance to the electronic processing Miles did to his trumpet in the 70s. Now I see it as another way of Miles playing Miles, and another unique instrumental color.

I'm not going to read all that fine print, but just what are you quoting?

The obit didn't mention how she/Stax was screwed by Atlantic.

Not at all. But since you didn't make it clear that it was your work, and the work is of publishable quality, I just wanted to make sure you hadn't neglected attribution. I'm not accusing you of this, but people cut and paste things without attribution all the time, not realizing that the same courtesies to the original author/source should be adhered to even in informal settings. I'm definitely not suggesting that you need a bibliography or footnotes in this case. Anyway, thanks for the research & excellent writing! Carry on.

Among the worst self-indulgent crap: Anything by Joel Dorn Ralph J. Gleason for Bitches Brew.

I haven't heard them, but I wish the Lee Wiley tracks would be collected in one place.

Patricia, are you writing those bios? If not, please give proper citation/credit.

Or maybe it's just onomatopoeia.

It's hurting companies like Mosaic perhaps, but my guess is as far as the majors are concerned, jazz & blues sales are so insignificant to them in the scheme of things that they probably don't think it's worth the effort. They'd rather go after adolescents for downloading Britney.

I don't have the box, but the Verve period is the high point of a great career. I consider her to be easily in the top 10 female jazz vocalists of all time, and my personal preference puts her ahead of both Sassy & Ella, as heretical as that might seem. I think Carmen McRae might be her only real rival in the "time" department.