jazzbo

It's too sad for me to go. . . . I have a lot of fond memories in that store, one of my very best friends has been working there from day one and doesn't yet know what he'll be doing next. . . . I've sort of been mourning it's closing about three months (abd I've known since before Halloween they were going to close as soon as someone assumed their lease).

Grimes and Quebec, and Grimes and Hardy, now that's some good listening!

Still material that could be included besides those that Gibbs got Contemporary to put out, including a favorite, Terry Gibbs Plays the Duke. There are also some great dates on MGM, Verve, that could be all incorporated eh?

Luckily this one is out. . . . I think I have them all, but yeah, a Mosaic would be nice. More Terry Pollard is always a good thing, who knows there may be extra material Mosaic could unearth as well. Someone should email and suggest it. The drag of the Mosaic idea is. . . the original cover art won't be there. . .and there are some . . . well ATTRACTIVE covers!

Yeah, this has long been a favorit. . . Quite a nice little session!

Have a great day Bertrand!

Shades of Velikovskian wonder!

The message DOES say June 9th though. . .

I wouldn't have said this ten years ago but now. . . Soul Samba!

Guess we have to wait til tomorrow; still has shipping there in the totals today!

Alright! I was hoping that was the case, that it was the Prevue and reasonably priced!

Welcome! Wear out the posting fingers!

Hey Tony, this is from the All Music Guide: Johnny Richards was one of the more progressive-minded arrangers of the 1950s and '60s, turning out big, heavily orchestrated scores with a sometimes unabashed use of dissonance and a good feel for Latin rhythms. His music has been called "provocatively colorful," though in the case of his notoriously portentous "Prologue" for the ego-tripping Stan Kenton, simply the word "provocative" says it all. Richards grew up in Schenectady, NY, learning piano, violin, banjo, and trumpet; his mother was a concert pianist who had studied with Paderewski. He started writing film scores, first in London in 1932-1933, and then in Hollywood for the remainder of the decade, as Victor Young's assistant at Paramount while studying composition with Arnold Schoenberg. From 1940 to 1945, he led a big band and then returned to Los Angeles to arrange for Charlie Barnet and Boyd Raeburn. He also arranged a string album for Dizzy Gillespie in 1950, along with recording dates with Sarah Vaughan, Helen Merrill, and Sonny Stitt. His most famous association was with Kenton, with whom he started arranging in 1952; Kenton's album Cuban Fire! is an outstandingly flamboyant example of Richards' work. Richards continued to lead his own orchestras in 1956-1960 and 1964-1965, recording for Capitol, Coral, Roulette, and Bethlehem, and co-wrote one of Frank Sinatra's signature songs, "Young at Heart."

More than twenty for me. Almost heard jazz as long as I can remember thanks to my Dad and Mom and Grandparents and Aunts and Uncles. And it's been more than twenty years that jazz has been my MAIN musical interest.

WORD! Not his best work, but worth having if you are an Elmo fan. Is this the Fresh Sounds or the Prevue version (the Prevue sounds best). . . . Good stuff, to me along the lines of the Specialty sessions.

Jeff, I've always felt like a kindred spirit. . . .! Take care and be sure to come back when you can! May James T. look after ya!

Many happy returns Ray!

May the art and happiness flow like wine!

Maybe we got bum information earlier on? Let's fire someone!

It's a damned centipede!

I have this spinning right now. It sounds FANTASTIC! R. I. P. Mr. Davies. A great series comes to an end!

Actually I think that it is interesting how well these meldings of cultures actually do "translate."