Bill Nelson

Kimbrel came in with a three-run lead and nearly blew the save. He was throwing mostly junk, low and out of the zone. Not that home plate ump Angel Hernandez was gonna give him any calls like he did the Yanks. (see: called strike three, end of inning for Bosox with bases loaded in top of 8th.)

The rhythm section is Roland Hanna, piano, Sam Herman, gtr., Richard Davis, and Mel. To paraphrase the liners:Thad solos on flugel, then Garnett rips it up for 96 bars, Roland finishes it and then ensemble kicks for 8 bars to set up Joe Farrell's tenor solo continuing until Thad's return of the theme and then... it's all horns on deck blowing until...whoosh... into a quiet held chord.

I've got the Jones-Lewis' 'Live at the VV' recording of 'Bachafillen' on the original Solid State LP (SS-18016, 1967) and CD (Blue Note-EMI, 2005). It runs 7:07 mins.

What Jim said. The most happening tracks are the two Garnett's with Joe Farrell (not Pepper Adams), Elvin (not Mel Lewis), and Marvin Stamm in place of Dizzy.* This group plays with a vigor and energy lacking on the tracks with Dizzy (which All Music's Scott Yanow notes "some loose and rambling moments". Label honcho Sonny Lester rivals Richard Bock for tricky editing and re-packaging onto other Solid State LPs and subsequent CDs on Blue Note and Lester's own LRC label. I've got three of the four such LPs which include Garnett Brown: Vols. 1, 2, and 4 (Solid State 18027, 18028, and 18052). I didn't need to buy SS-18034 from the same date, titled 'Dizzy Gillespie Live at the Village Vanguard' because two of the three selections are from SS 1027 and 1028. A fine mess, yes? * released on vinyl in 1969 as 'Jazz For A Sunday Afternoon' SS-18052

Perhaps overheard at a North Carolina Waffle House just barely functioning with a limited menu: "I'll punch-out the next som'bitch who plays "Who'll Stop the Rain" on the jukebox."

I thought it was comedienne Sarah Silverman playing it straight.

Christy followed this with a 1960 Capitol LP of children's songs titled 'Cool School' -- but with no children present beyond the album cover. Better seen than heard.

Or as 'Tonight Show' guest Dolly Parton said to Johnny, "It takes a lot of money to look this cheap."

In 1970, Dorough and guitarist Stuart Scharf, got a contract for a 4-song EP for Scholastic Magazines. They covered 'hit' songs of the time, with socially relevant themes. However, they did a wild treatment of 'Runaway Child, Running Wild', with Dorough imitating ALL the voices of the Temptations. If this isn't crazy enough, Steve Swallow plays bass and keyboards and Bill Goodwin handles funky drums. https://www.youtube.com/watch?v=LoRwZui_KHc Sorry, it was an upper case for one letter. https://www.youtube.com/watch?v=LoRwZUi_KHc

Here's my favorite Manhattan Wildlife Refuge track. Danny Stiles gets featuredup to the 3:50 mark and then the band let's 'er rip like a 70's soundtrack chase scene. And Dick Hyman gets funky on the keys. https://www.youtube.com/watch?v=enJGn2cIh0s

When I'm in 'purge mode' in my record library, the saving grace for any Contemporary LP is 'sound by Roy DuNann'. As if it said, "Cool the impulse, bud. Give me a full listen and appreciate the superior quality of recording."

Mingus' return to Columbia in 1972 ('Let My Children hear Music') was a one-off affair. The Great Columbia Jazz Purge of '73 saw the sacking of MIngus, Ornette, Bill Evans, and Keith Jarrett ALL ON THE SAME DAY. Bruce Lundvall: "I shouldn't be telling you this because I don't want to disparage Clive (Davis). There was a moment when we (Columbia) had Ornette, Keith, Bill, and Mingus. They were all dropped in one day. How this happened I have no idea. Keith Jarrett phoned me, "You fucking jerks." I had nothing to do with the decision." from interview by Ted Panken, Jan. 9, 2009. (Our Ghost of Miles contributor explored this at length in his 'Nightlights' of 6/29/2015)

"ARR BILL BYERS" is visible on the LP front cover of 'QJ Explores the Music of Henry Mancini'. You can see it on the sheet music for 'Moon River', perched above a piano keyboard. (Forget looking on the CD -- it's blurred-out.) At least Q let Byers play on all the tracks -- probably for scale.

Sunday's last-minute Bengals win over the Ravens gave Marvin the chance to exit on a winning note. Too bad nobody took advantage of it.

For music DJs in the biz, the dates of birthdays, deaths, and anniversaries are always useful as 'pegs' or themes to fill time, i.e. provide content.

The Xmas tie-in is a deliberate marketing decision to ensure seasonal replays in perpetuity. In the same vein, studios finance movie projects which involve wacky, off-kilter weddings. The above themes play on warm fuzzy feelings which audiences will reach for with their wallets.

The 'New Music of Alec Wilder' (Riverside, 1956) made a second appearance in 1960 on Bill Grauer's Offbeat label. It was re-titled 'Tacet For Neurotics'. Grauer pulled a Richard Bock stunt by changing the cover entirely, though I can't say that he re-spliced any of the tracks.

Here's my 'go to' for Con Alma, with props to the always-tasty Grady Tate. https://www.youtube.com/watch?v=SJ4zkrF9nIs

I'm pleased with the clean and clear sound of the Audio Fidelity SACD/DSD. As for the Bainbridge CD (BCD-1044), it was likely the first available version on CD (maybe 1990) and it only has 8 tracks.

Re: Kevin's: "The earliest CD issues would seem to indicate that they didn't have the best tapes back then." This comment shouldn't apply to the 2003 CD 'Sonny Clark Trio' by Audio Fidelity (AFZ 2006). "Mastered from the original Bell Sound three-track session tapes and two-track master mixes at Kevin Gray's AcousTech Mastering." The SACD was compiled and remastered by Steve Hoffman. The first eight tracks are 'master takes', plus an additional five 'alternate takes'. (Interestingly, the recording dates given are January 2 and 6, 1959.)

And for those of us who weren't there, upon buying the record or CD, we can vicariously thrall in the audience response.

This thread got me to pull and play my 'All Night Session-1' and I enjoyed the listen. It isn't deserving of curses such as "workmanlike" or "serviceable", nor is it cocktail jazz just goin' through the motions. The album was engineered by Roy DuNann and recorded at Contemporary's L.A. studio, so the audio quality is there.

The Japanese SHM of 'Underground' (WPCR-29031) has been a pleasure -- all instruments are better defined, esp. the bass and drums. As I've been through several sealed vinyl copies, it's good to finally hear it in much better detail. Can't speak for the 'Atlantic Masters' but I've got the first CD issue which was mastered by Stephen Innocenzi -- with the effect of cloaking by a wet blanket. In all cases of this album, the usual muddy touch of original session engineer Tom Dowd keeps 'Underground' from achieving, by comparison, the startling brilliance of the SHM CD of Roland Kirk's 'Inflated Tear'. (Well worth the upgrade for any devotee of Rahsaan.)

"And you'll goddam get it right or the bus driver'll put you and your axe on the side of the highway."

My nine-day delivery of the Jordan Strata-East box: July 14, ordered late afternoon, media rate postage July 22, arrived in perfect condition Sorry boys, but I can't dogpile on the Mosaic Shipping Kvetch-athon.