Bill Nelson

I had the same reaction to Nelson set as J.A.W. I'd much rather play his early LPs on Impulse and Verve.

Back at their office, it was either "J.J. and Kai" or "This is Kai and J.J.", depending on who picked up the phone.

I was thrilled to read the Jordan-Strata East was available again and ordered mine yesterday. As Sangrey said, "This is a LOT more the type of set I appreciate Mosaic for." (The only Strata East vinyl I've been fortunate to score are 'Glass Beads' and Brackeen's 'Rhythm-X'.) That Malcolm Addey remastered this box set ensures this will be the best in physical media you'll ever hear. Also, I want to get this before the Last Chance Stampede when the curtain comes down.

In 1974, I phoned Joe Fields at Muse Records to get promos for my college radio station (WRIU-FM, Kingston, RI). Nice enough that he took my call and even better when he said, "I'll add you to our mailing list but you gotta promise me you won't take 'em home or sell 'em on the side." (Both conditions honored while I was there.)

Since the time of my post (above), roughly half of the 53 Mainstreams available from the Bards have sold out. (27 of 53)

The Dusty Bards just replenished their Japanese Mainstream stock. I got Harold Land - New Shade of Blue, Mike Longo - Matrix, and Charles Williams - Stickball.

Photo caption with a hit-40's song: "Don't Answer the Door, Richard!"

Exactly. Those five Elvin Blue Notes above are the ones on my shelf. 'Lighthouse' was workmanlike and never impressed.

Not to lay the 'jingo' vibe on Friedman, having posted (above) the book was about "significant U.S. singers". The book indeed has individual artist entries on Al Bowlly, Noel Coward, Marlene Dietrich, and Matt Monro (but no info on Monica Zetterlund or Rita Reys). Also, there's probably a few Canadian-born singers I didn't mention.

What Sangrey said. Friedwald's book is the most incisive and knowledgeable single tome about significant U.S. singers. With his sincere love and understanding of vocal traditions, you'll get sharp observations and analysis of what each singer brings or brought. No longer will you endure the standard artist bios riddled with clichés and hasty, sophomoric wrap-ups. If you want to go deep on any singer, Friedwald can bring it. Caveat: the book does not intend to serve as a complete encyclopedia or full catalog of LP and CD releases. As it stands, the 'Biographical Guide' takes-up 801 pages with no photos, index, or appendices. Friedwald asks the reader to 'suit up' and get serious, like him.

But first -- the station's Business Mgr. will send someone with a fat black magic marker to write 'WFIU' across the faces on the front covers.

Always dug Langhorne's contributions to Tom Rush's best album, 'The Circle Game', 1968. Everything worked on that LP and Langhorne sure plays a hot guitar.

Similar to Chewy, I also sold my copy of 'Mingus Trio'. The music wasn't really happenin' and Jubilee's pressings are among the worst.

I'm with Dmitry. Sangrey's constant posting of RIP's has become tiresome.

Julius' soft sell approach to furniture sales: "Now what's it gonna take to make you buy this damn dinette set?"

Got a $5.95 hardbound from the 'Bards and tried to dent the dense, post-doc academic writing. It's chunky style, like reading McLuhan. Haven't touched it since, as I'm not a masochist unless the pay is good.

The multitude of award-winners on the boat are like the sea waters outside -- full of swells.

As the topic involves the operations of Morris Levy's Roulette label, it's advisable not to ask too many questions.

In Feb.1969, two sets by the James Cotton Blues Band provided me with my first night-out gig. I was 15 and my parents had dropped me off at the Univ. of Rhode Island. Cotton was performing as the opener of a Verve Forecast show with Richie Havens as headliner. As Havens was 90-minutes late, it gave every member of Cotton's band -- including the roadie -- an opportunity to stretch. Cotton was a great leader and kept me riveted.

1708 Bennie Green - Soul Stirrin' ("vocals Green & Gonzales") b/w 'That's All' 1868 Lou Donaldson - Funky Mama (pts. 1 and 2) 1918 Lee Morgan - The Rumproller (pts. 1 & 2)

That would make Baby Face a collateral damage victim of un-friendly fire.

One of the best examples of having a record producer with clout at a major label -- Brad McCuen. Within a 12-month span, he recorded and released four RCA LPs by the Burton quartet (all with Coryell): Duster rec. April 18-20, 1967 Genuine Tong Funeral rec. July, 1967 Lofty Fake Anagram rec. August 15-17, 1967 Quartet in Concert rec. Feb. 23, 1968 (at Carnegie Hall) The only personnel change in the above was after 'Duster' -- Bob Moses replaced Roy Haynes

Since 1970, my favorite has been 'Spaces' -- the LP of shared artistry among gifted, soon-to-be-famous peers of Coryell's. A couple years later, the jazz fusion groups of McLaughlin (Mahavishnu Orchestra), Vitous (Weather Report), Cobham (Spectrum), and Corea (Return To Forever) would be filling large concert halls. I suspect that some of Coryell's moodiness and inconsistent recordings resulted from bitterness and envy at their success and heavy promotion from major record labels. All while Coryell was still playing clubs and releasing LPs on Vanguard, an independent folkie label trying to be hip. I can hear Coryell saying, "C'mon people, give me some creds. I was the first jazz-rock guitarist on the scene in '66 with The Free Spirits and was in on Gary Burton's jazz fusion 'Duster' album in '67." And he'd be right.

Yep, in the early 1970's when Maynard was hitting big on Columbia, Bob Shad re-issued three of MF's mid-60's albums -- and gave 'em new titles. Of the 122 releases in Mainstream's MRL series, about 20 are repackages or reissues of 50's and 60's recordings which Shad still had rights to. That leaves us with 100 LPs, most of which were risk-taking, original efforts of artists who were passed-over by the major labels (having deigned them unworthy and unprofitable).