Bill Nelson

And in the realm of physical media in this world as we know it -- "That's all folks!" For the bulk of these Decca GRP Jazz masters, they ain't happening again.

Yes, Decca's Legendary Masters of Jazz series of 59 titles (listed above) was released thru GRP from 1992-95 and was a quality CD reissue endeavor. The one most Organissimo's have in hand is Hal McKusick's 'Now's the Time' (GRD-851, issued 1995). On this and the three others I've got (Lunceford, McShann, McRae), Orrin Keepnews was the project coordinator and producer (probably for the entire series). Each CD booklet is thoroughly researched with historical perspective and discography with details of each track. The CD era of the early 90's was one of boundless destiny and most major labels green-lighted reissue projects from their holdings but few were this good. With the exception of McKusick, each of the 58 other titles was perhaps given a run of 2,500 copies. If 5,000, then I would've seen 'em appear in cut-out bins (Music For A Song) and discount merch catalogs (Daedalus). Maybe they were and I didn't get busy when they got dumped. Wish I had more but am happy with what I got.

Of course, of course. Or as my mother-in-law would say, "So, whose fault is that?"

Buff it. Puff it. Stuff it.

What I especially like about Friedwald is his critical thinking and creative way of calling 'em as he sees 'em. As a result of his audacity, he frequently leaves me hooting or howling.

It officially becomes a 'hat trick' when a third label repeats this ruse. (Andorran pirates, start your engines.)

I've always given Martin Williams creds for defending Ornette w/ liner notes on Atlantic LP jackets, however... his lengthier pieces of writing sag from the weight of overwrought verbiage in over-intellectualizing his totems within jazz. In 1984, I got to hear him lecture for 45 minutes on the topic of 'Duke Ellington' and he had his audience embalmed by midpoint. By the end, I had no desire to meet him so I just split.

Old School: Carol Sloane and Sue Raney New School: Stacey Kent (with heavy Joanie Sommers influence)

"He (the assailant) lives less than a half-hour from my house and that concerns me." So when Brutus makes his bond and gets parole... he'll have lots of time to wait for the right moment to 'thank' Mr. Rescue.

Could be the battery contact in Wig's ear trumpet.

"Our thoughts and prayers go out to his... uhh... fellow city bus drivers."

So Jimmy Smith was also a MENSCH? "No, but on this occasion it wouldn't hurt."

Tim Green tonight? What time?

Verse/Naxos moved on Bethlehem's catalog 15 years too late to make a profit -- and 10 years to break even on manufacturing physical product. (Unless they made numbered limited edition gold disc CDs personally remastered by Kevin Gray or Steve Hoffmann.)

I suppose Rick and Oscar simply ran out of time to listen to them all. I'm starting to get that feeling myself.

Happened to find an interview with Nancy Wilson's pianist and sometime music director Ronnell Bright, who was with her from 1963-66. At the time of this interview (DownBeat, Feb. 5, 1970), Bright was done touring and seemed ready to tell all about the singers he'd played for. On Nancy Wilson: "She's a charming lady with a very appealing voice, as warm as Nat, but she's not a jazz singer or a creative singer. I watched her grow from a sweet, humble talent to an over-assured person. She thinks she's a musician and tells conductors her opinions but she hasn't the experience or musical training to do that. Her talent lies in finding her own way. It's foolish for singers to talk to men who have studied 12 or 15 years about matters that they, the singers, don't understand." To give you some RB creds, in 1958 he replaced Jimmy Jones in Sarah Vaughan's trio. And it's him playing piano on 'After Hours at the London House', with Richard Davis and Roy Haynes completing the trio. About Sassy: "Of all the singers I've played for, Sarah is unquestionably the greatest -- the only one who can claim the very highest standards of musicianship. She could tell you to move from F# to E in the middle of a ten-note chord and she'd always be right."

My experience with the original Focus pressings gave me plenty of 'agita' -- the vinyl looks cloudy and plays with continual hiss. Atlantic Record Sales Co., Inc. may well have distributed them but they were likely pressed at a subsidiary of Pickwick. I've since gotten a Japanese pressing of McRae's 'Bittersweet' (Warner-Pioneer, 1980) and Dorough's 'Everything' on an Evidence CD. The Wayne 'Tapestry' is nice but not essential.

Let me echo Jeff's tribute to Ben and his very real jazz club, Hannah's. The time I went in May, 1992, vibist Dave Pike had brought his rig and was sitting in. The band swung even harder and Ben (then 61) was digging his scene. Since then, as I acquire West Coast jazz albums, I continue to find 'Ben Tucker, bass' in the credits. And the music is always solid underneath.

When parking at the truck stop, there's a secluded area in the back where, if you wait, a variety of other deals start at $8.

Just dug this out of one of my crates and put it on the TT to let it 'sing for its supper'. Hell yeah, it'll be filed into the main library. Liberty/Pacific Jazz gave Bud the green light to stretch with his buddies on this one. They're all on the cover of the gatefold jacket and the liner notes by J.William Hardy are detailed and worth it. Both tracks on the witness stand are so well-arranged, they synch with all other tracks. 'Grass Is Greener' doesn't sound like the Pet Clark hit 'The Other Man's Grass Is Always Greener'. Shank's 'Grass' is dynamite by comparison.

But wait -- there's more! Buy 12 copies for yourself and, with each book you can: exterminate exfoliate excise excrete execrate exhort exonerate expatriate expectorate expunge exuviate, and then extinguish the glowing ashes

Tomorrow it'll be the pig's turn to 'make a wish' at his parlor.

A follow-up to 'the Virtuoso Series' might have been Mal Waldron's 'Sweet Love Bitter' (Impulse 9142, 1967). There's a chamber-like quality consistently maintained for this soundtrack composed by Waldron. While there are moments the trumpet, alto, and tenor cut loose and swing, they otherwise stick to the score. That it was released six albums after 'October Suite' makes one curious why it didn't get the 'Virtuoso' tag. Perhaps because the date was a one-shot by the free-spirited Waldron, who was headed to Europe?

Let me enter it again for MG Jackson's YouTube clip: http://www.youtube.com/watch?v=xqsz38Frxm8

The LP 'Heart and Center' (1979, Arista/Novus) by Michael Gregory Jackson (guitar, vocals). The record stiffed on impact. I've only seen promo copies with cut corners -- and usually for $5. It was too slick for the Novus jazz hardcores and way over the heads of everyone else. Check it out: http://www.youtube.com/watch?v=zqsz38Frxm8 with: Pheeroan ak Laff, drums Marty Erlich, soprano sax Baikida Carroll, trumpet Jerome harris, electric bass Barry Harwood, organ