Pete C

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.

I got mine when I bought the box--perhaps at Tower.

I see Henry in the audience at NY gigs all the time, with Margaret Davis. Adam, any chance you're coming to NY for Vision this year? I didn't get to meet you last time--was it 2002? Already announced on the Henry Grimes website is that Henry will have a trio with Crispell & Cyrille!

The Christian airchecks & jams set is excellent, and the Minton's & Monroe's material with Dizzy, Monk etc. is in the best sound I've ever heard it.

DrJ, I'm BLOWN AWAY by your insightful posts.

I think you're right in large part--he was a catalyst and a synthesist, extremely attuned to what was going on in the wider musical culture as well as the potentialities of his chosen sidemen. The sound of the second quintet was a convergence of the history of Miles before that, the rhythmic input of Tony Williams, and the compositional/improvisational sensibilities of Wayne & Herbie, IMO. Miles gave Wayne the chance to realize certain directions that the Blakey association wouldn't allow. But Miles was the ringmaster, don't forget that.

This thread got me to do some listening and searching and I found something really interesting: Bob Hope Presents The Chrysler Theatre - Something About Lee Wiley First Aired October 11, 1963 Guest Stars: Piper Laurie (as Lee Wiley) Claude Rains (as Mr. Fare) Steven Hill (as Ruben Fare) Alfred Ryder (as Paul Eastlake) Ruth White (as Mama) Synopsis The story of jazz singer Lee Wiley, her failed marriage to bandleader Jess Stacy. Notes Director Sydney Pollack received an Emmy nomination for this episode. Now I have to see if the Museum of Television and Radio has it.

As far as I know Purcell has been off the scene for a while.

I wasn't chewing. Just gently nibbling.

I'd bet she was into Ethel Waters. As far as the RCA material goes, West of the Moon is good, but it doesn't get to me as much as A Night in Manhattan or the songbooks. I haven't heard A TOuch of the Blues. So, do the Wiley fans who've weighed in know Barbara Lea?