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Was this a one-off performance, or did they do a whole tour? ← Patty has a new one out called "Keep Your Distance" she probably recorded it with Iron Maiden in mind.

I like Patty Loveless and Iron Maiden. :rsmile:

Questions for first time eBay seller mr._mooster: Your listing states: CD gently used, looks mint. Is the CD used? Also, is that a green mint, or a white mint, like in a York peppermint patty? Classic guitar jazz fusion. I don't understand. Is this classical music of jazz music? Can you explain? Your listing states: Available to United States Only. Will ship to United States. Question: Will you ship to Buffalo, New York? Will you use a box or padded envelope? If I win, can I pay you next week Friday? Do you accept PayPal? Do I pay you in American dollars? Can we maybe work out a trade?

I wonder why they skimped on just the one sausage 'patty' Thanks for showing this just before my breakfast..

Sonny Rollins at Hill Auditorium, Ann Arbor, October 1, 2005 Picking his spots Sonny Rollins appearance in Ann Arbor Saturday night unfurled in a careful arc of energy, one allowing the 75 year old musician to maintain the level of quality he’s exemplified in nearly 60 years of making music and still reach the heights of physicality his type of spontaneous expression demands. So while the the apex of Saturday’s performance came during a nearly fifteen minute tenor saxophone solo on “Don’t Stop the Carnival,” the kind of high energy, overflowing blowing he used to do for 50 minutes or longer, there was no diminution in the quality of the music. His ideas are abundant, his sound supreme and his wisdom profound. The “sides” of the arc up to and falling away from that apex were highlighted by Rollins’ musical interplay with guest drummer Al Foster, and long, long solos by electric guitarist Bobby Broom and the beautiful sounding trombonist Clifton Anderson. It was clear during the opening number “Biji” as his sidemen soloed at length on the lilting original, and the on second number “I Want To Talk About You" that at this stage of his career the tenor saxophone master is picking his spots: he conserves his energy by concentrating on sound, melodic interplay and leading his band before he’ll cut loose with tumultuous improvisations as in days of youth . And whenever he did step front and center his band fell into place with him -- they all rallied around his sound with a cohesion the members don’t always display on their own. With Bob Cranshaw playing minimal notes on electric bass and Al Foster playing in that free-funk bag people might recall from his time with Miles Davis the rhythm section took on a later electric Miles Davis flavor. Clifton Anderson’s lion share of solo space on “Biji” showed off his warm sound, flexibility (his ability to jump the same wide intervals as Rollins is prerequisite) and good melodic sense. In fact he may have even saved the boss on the bridge the first time through “I Want To Talk About You.” The choice of “I Want to Talk About You” with it’s ravishing melody, “They Say It’s Wonderful” with it’s tender romance, “A Nightingale Sang in Berkeley Square” with it’s minor tendency and “Why Was I Born?” featuring an unaccompanied, cadenza-like section amounted to a great program from which Rollins shared his sound and free melodic concept. Just hearing how Rollins plays heads is a lesson in possibilities: of playing off the time, tossing counter melodies against the trombone, improvising within the melody (and hanging the question, “Will this phrase ultimately fit?”) or joining in unison for a mellow blend with the trombone. Those great songs gave Rollins’ sound and melodic abilities a sparkling showcase. And though he didn’t step up to his full capacity until the third number, the direct interplay Rollins developed with Foster on “I Want to Talk About You” was highly musical. Rollins sticking to a riff and Foster improvising around it could have devolved into a game of musical patty cake -- too cute -- but didn’t. They made for an extended section of spontaneous interplay that is jazz at its musical best. Later in the concert when they revisited that direct interplay it was Foster who held the riffs and Rollins who improvised around them. Both of those moments were high points in the ensemble’s contribution. While staccato rhythms inspired by his calypso-based compositions have become the centerpiece of Rollins solo style, of his most inspired moments of improvisation, Saturday night’s concert showed, too, how at 75 bebop still lurks just beneath the surface of his music -- dig the quote of “Wee” or “Allen’s Alley” laying perfectly in the rhythmic motion of his “Don’t Stop the Carnival” solo, or other Birdlike asides that would flit by. The great swirls of free associated sound he created in the mid-60’s would race in at the conclusion of a knotty, complex high speed run, or bridge choruses; not to mention the “walking the bar” tradition of the tenor which he used to wake up the audience by pointing the bell right into the front row and blasting out dark basketball sized low notes. And quotes. Rollins even worked in “Santa Claus Is Coming To Town” at one moment. Knocked everyone out. The Hill Auditorium crowd was with him every step of the way from the opening standing ovation to greet him on stage to the end of the second encore which closed with an emotional quote of “St. Thomas.” Rollins signaled the entire concert was dedicated to the great tradition of jazz in Detroit, naming Tommy Flanagan and “the Jones brothers” specifically. Rollins at 75 has even more to say as a musician than Rollins at 25. And though his sound may have deepened with an oboe-like darkness it is still voluminous as ever and a captivating vehicle for the superior spontaneous melodic improviser he’s always been. Lazaro Vega is jazz director at Blue Lake Public Radio, www.bluelake.org

Less activity on this one than for Disc One, and a lot of the responses seemed somewhat "perplexed", especially those which came before yesterday. I figured on some of that, but, honestly, not as much as there ended up being. Oh well, the Disc is what it is, and I got a kick out of reading the responses that tried to figure out just exactly what it is. And to think that I decided to keep it mostly "inside"! Anyway, let's take it apart and see what's inside. I suspect that a few eyebrows will be raised along the way! TRACK ONE – “The Happy People” by The Cannonball Adderley Quintet From Capitol ST-11121 The Happy People (LP) Cannonball Adderley –as, Nat Adderley – coronet (not present on this selection), George Duke – el p, David T. Walker – g (not credited for this selection, but guitar is obviously audible), Walter Booker – b, Roy McCurdy – d, Airto Moreira – vcl/perc; Mayuto, Octavio, King Errison – perc. Flora Purim – “Special Vocals” (Recorded 1972) A lot of “if I didn’t know that this was Cannonball, I’d never have guessed” responses to this one, and that’s sort of the point (that and the absolutely fabulous, non-stop Brazilian groove). If you only know Cannonball up until the early-1960s or so, you don’t know the whole Cannonball. Yeah, a lot of those later Capitol sides had a lot of commercial trappings, often suffocatingly so. And a lot of them were edited so that Cannonball’s full solos ended up as condensed fragments. Yet, in spite theimpression those records might give you, his playing continued to grow and evolve. His tone got fatter, rawer, and less ripe, he continued to stretch harmonically (sometimes extremely so), and he was not at all averse to dipping into the “free” bag when it suited him. That’s a side of Cannonball that was best experienced live, but bits and pieces of it do survive on records (more explicitly on his post-Captiol Milestone sides, but even there, the “trappings” are usually in place). Point is – Cannonball’s records might have gone commercial, but his actual playing went just the opposite route. If you’re patient enough, there’s some really juicy and spicy meat to be found in even the most commercial sides, meat of a decidedly different variety than that of the Mercury/Riverside years. And he remained an immensely popular live attraction right up until the day he died. Just goes to show you that sometimes, what you think you’re getting and what you really are getting may not be the same thing! As for this album, it’s not yet been reissued (and, as brownie noted, it’s not even listed in the Lord discography). But this tune and the Milton Nascimento tune after it (which make up Side One) are perfectly fine, full of life and inspired playing by all (Airto was on fire in those days, and brought it with him everywhere he went, it seemed). Side Two drags down a bit, and gets pretty tedious (and non-Brazilian). So, is the glass half-full or half-empty? That’s one for everybody to decide for themselves... Anyway, from The Happy People, we go to the not-so-happy people: TRACK TWO – “Aftermath” by Oliver Nelson From Flying Dutchman FDS-116 - Black, Brown And Beautiful (LP) John Klemmer & John Gross – ts, others not credited (Recorded ca.1969) More from Oliver Nelson’s other masterpiece. This time something of a decidedly different bent (Side One of this album is “classical”: in nature, while Side Two is “jazz”. This cut is the opener to Side One). Nelson had extensive conservatory training in composition, and I’m told that he left behind a fairly sizable repertoire of “classical” works that were never performed in his lifetime (and ain’t that a drag – to create a body of work that you never get to hear, not even once...). If they show the range and adventurousness of this one (and the other three), they should be examined and performed immediately, I believe. Yeah, the main theme goes a little bit into FilmScore Land, but it’s enclosed on both sides by some pretty heavy shit that conveys quite well the image that Nelson had in mind. Says he: This, too, is Fire Music. Make no mistake about that. TRACK THREE – “Try A Little Tenderness” by David Sanborn From Elektra 61759-2 – Pearls (CD) David Sanborn –as, Kenny Barron – p, Christian McBride – b, Steve Gadd – d, Johnny Mandel – arr; others not credited (Recorded ca.1994-95) Syrupy or tasty? Again, that’s a matter of personal taste. But I’ve talked about Sanborn’s gift for melodic interpretation, and, specifically, this album often enough that I thought I’d include a cut for general review, since I KNOW that ain’t nobody gonna buy a Dave Sanborn album, just because! Besides, after the gut-wrenching turmoil of the previous cut, trying a little tenderness seemed to be the only option... If you like this cut, you will like most of the album from which it comes. There’s also a stunning cameo by Jimmy Scott on “For All We Know” (which almost made this test, but for the Patty Waters version of the same song which closes Disc One). There is a little bit of genuine schlock on Pearls, but for $6.99 - the price I paid for a used copy - I’d say it’s a safe bet. TRACK FOUR – “What A Little Moonlight Can Do” by Etta Jones From Muse MR 5175 – If You Could See Me Now (LP) Etta Jones – vcl, Houston Person – ts, Sonny Phillips – p, Sam Jones – b, Idris Muhammed – d (Recorded 6-21-1978) I think that this was Etta’s “comeback” album, her debut on Muse, the first in a long, happy, and successful relationship between her, Houston Person, & Bob Porter’ various labels. They had a formula, sure, and Etta’s voice gradually declined over the years, but the vibe was always real. Her spirit wouldn’t let it be otherwise. On this album, however, everybody is still fresh and nimble, and the groove is bumped up several huge notches by the archetypical work of the incomparable Sam Jones. Jesus Christ, can you swing any harder than he does here? And live to tell about it? We also get a rare opportunity to hear Sonny Phillips on piano, and that’s a treat (Nate heard a wrong note at the end of his solo, but as Joe G noted, it’s really just a #11, a rather nifty, Powell-ish finishing touch). And Idris hooks up w/Sam hand-in-glove (how could you not? And live to tell about it?). Etta just RIIIIIIIIIIIDES the beat, letting it (and Person’s totally simpatico obbligatos) free her up to do what she will with the tune. And what she does is swing the hell out of it! Heard live, a groove like this can transport you into another realm. Heard on record, it can come pretty close to doing the same thing. But who farted? Not once, but twice? At 1:02? And again right between 3:31 & 3:32? I’ve had this album for years, and never heard ‘em until listening to the CDR master of this disc. Thought that it might be some digital “addition”, but Holy Beano, they’re on the LP! Somebody farted on-mic. Twice. Everybody lived, but nobody told about it. Rudy, what the hell? Still, this is one GAS of a cut (pun unavoidable). Makes me happy to be alive. Gotta love that! TRACK FIVE – “Without A Song” by Freddie Hubbard From MPS/BASF MB 20726 – The Hub Of Hubbard (LP) Freddie Hubbard – tpt, Eddie Daniels – ts, Roland Hanna – p, Richard Davis – b, Louis Hayes –d (Recorded 12-9-1969) Richard Davis has an agenda of his own on this cut. What the hell it is, I haven’t a clue, but if it’s to create a potential for instability that forces everybody else to dig in and play as heatedly focused as they can, he succeeds. This and Ready For Freddie are by far and away my favorite Hubbard-as-leader sides (throw in a few others for Honorable Mention, though). He’s got his chops in high gear, but his creativity is right there alongside ‘em. Eddie Daniels (when/how/why did THIS cat turn into such a dipshit of a musician? Fuckin’ clarinets & tuxedos, sheesh....) is just wack on this one, digging into a DEEP Joe Henderson bag for his phraseology, but with a tone all his own (although I do hear a little Warne, now that some of y’all mention it...). He’s obviously trying to key off of Davis for his time, but that’s a good plan gone awry. So he just throws caution to the wind, and with marvelously warped results – quizzical phrase endings, riffs that try to get the time into one place, and just a lot of “Fuck it, I’ll see y’all when I see ya’” stuff.. A truly spontaneous, in=the-moment solo, I think.Roland Hanna’s got one foot on Jaki Byard and the other hand on a beer bottle (you gotta see the inner-jacket photo to get that one...). Louis Hayes, hell, he’s having to try to make sense out of whatever the hell Richard Davis’ time is up to, and he does it against all odds. Yet the whole thing burns from start to finish, and the MPS Reverb on the end just adds to the already well-established sense of buzzdom. A splendid mess, this one is. This whole album is one big, sloppy party where everybody plays their asses off, faults and all. I like that. A lot. I think the album’s been reissued on Japanese CD. It should be reissued in America. Ask Verve. TRACK SIX – “Requiem” by Oliver Nelson From Flying Dutchman FDS-116 - Black, Brown And Beautiful (LP) Pearl Kaufman & Oliver Nelson –p (Recorded ca.1969) Lots of Jarrett-guesses on this one. I don’t hear it myself, but that doesn’t mean anything. Don’t know which pianist is which, but based on Kaufman’s other appearance on the album, I’d say it’s Nelson playing the ostinato. I’ll let Oliver Nelson give his own commentary for this one: TRACK SEVEN – “I Hope In Time A Change Will Come” by Oliver Nelson From Flying Dutchman FDS-116 - Black, Brown And Beautiful (LP) Oliver Nelson –ss, others not credited, but likely including Bobby Bryant – tpt, Roger Kellaway – p, Chuck Domanico – b, John Guerin – d (Recorded ca.1969) The title, as Nelson says in his only commentary on this piece, “is self-explanatory”. As is the music. Heartbreakingly melancholic, it is, with those abortive forays into the major key that get pulled right back into the omnipresent minor, as well as with those deep interior dissonances at climatic moments. The bright, happy chord that ends it, is that a dream of things to come? A commercial quick-fix ending? Or is it the musical equivalent of the kind of smile your wife gives you when she’s got “that look” and you ask her what’s wrong, and she says “Nothing, dear. Everything is just fine...” ? I think the answer is pretty obvious. And that soprano...that too is self-explanatory... In my opinion, the unavailability of this album, in toto, on CD, here or anywhere, ever, is a most egregious wrong that needs to be righted as soon as possible. TRACK EIGHT – “Paucartambo” by Ray Anderson From Soul Note SN 1087 – Right Down Your Alley (CD) Ray Anderson – tbn/conga, Mark Helias – b, Gerry Hemingway – dr/steel drums (Recorded 2-3-1984) Until a change does indeed come, there’s always good, healthy escapist realism, and this cut has long been one of my favorites for exactly that. The timbre of the steel drums (and their less than precise pitch, exploited at times to glorious effect by, as Mike noted, Hemmingway’s varied attacks) creates a whole ‘nother world for me. Helias’ bass reminds me, in spirit, of Dolphy’s “Music Matador”, and Anderson plays very tasty, if not particularly complicated, conga. Then the interlude, and the instrument changes. The dream gets a little more concrete, but just a little. The bass/drum hookup on this one is TIGHT! Then they switch back, and the dream dissolves. But now, dammit, I wanna DANCE! TRACK NINE – “Db Waltz” by Weather Report From Columbia FC 39147 – Domino Theory (LP) Joe Zawinul – keyboards, Wayne Shorter – ts, Victor Bailey – el b, Omar Hakim – d, Jose Rossy – perc (Recorded ca. late-1983) Almost universally loathed until a last-minute surge of semi-support yesterday, it seems. Oh well, y’all are WRONG!!!! :g :g I mean, yeah, the ingredients (intentionally cheesy synth sounds, handclaps, band vocals, processed sax sound, arena-rock false endings replete with ultra-hyper drumming, and god-knows-what-else) are all “suspect” but the results are exquisite. Kinda like a good hot-link – if you dwell on what’s REALLY in it, it’ll make you barf; but if you just go ahead and eat the damn thing, it’ll groove ya for days. And this thing does groove me. Look, the tune itself is just plain wack once you take it apart and get past the surface ingredients – all the different sections (the segues between sections seem a little bit slack, though, and that’s the only criticism I have of this piece), the totally stretched harmonies, Wayne’s deadpan-but-oh-so-off-the-wall melodic statements and solos (a quality of his that goes back to his debut on Kelly Great, so, hey, what’s new?), the obviously (and obviously deliberate) over-the-top quality of it all, it all adds up to some master musicians having a blast. You gotta be free within yourself (and have a LOT of knowledge) to have this much fun with these kind of materials, to take the extra-mundane and bend it until it almost breaks, but doesn’t. This isn’t the self-congratulatory masturbatory chop-fest of the worst of fusion, this is just plain ol’ goofy-ass, First-Herd-of-the-Electronic-Age type FUN! Oh well, different strokes. Still love y’all! TRACK TEN – “Nothing Ever Changes My Love For You” by Roy Haynes From Mainstream MAL 313 – Hip Ensemble (CD burn of LP) Marvin Peterson –tpt, George Adams – ts, Carl Schroeder – el p, Teruo Nakamura –b, Roy Haynes- d, Lawrence Killian – conga (Recorded 1971) Now THIS one was just for laffs. I opened up Disc One with a “show-biz” type opener, and this one, redolent of headbands, long hair (Afro & Euro alike), tank-tops, tie-died pants, and sweat from playing hard at an outdoor concert (preferably in a park) as it is, just reeks of another type of show-biz – a young, not-fully-formed (Hannibal does NOT make all the changes!) group of young players led by an ever-hip, modishly (and expensively) dressed older drummer bringing a young-ish, highly stoned crowd to their roused feet by just HAMMERING THE HELL out of a once gentle and suave standard. Send’em home PUMPED, by God! SHOW BIZ BABY! :g Yet, it’s not without its charms. I dig Schroeder’s intro (and the segue from Zawinul to another, younger European electric keyboardist was intentional). Dig how he quotes “Four” without rhyme or reason (except that it comes four bars before the horns’ entry...). And his solo is nice and oblique in the then-current style. Whatever happened to him, anyway? And Adams is heard here in good early form, more than a little wild, but definitely playing. I miss that cat... The Haynes Mainstream albums are not “essential” or anything, but they are of historical interest and not without some intrinsic musical merit in spots. But this cut was included strictly for grins. I swear! TRACK ELEVEN – “The Beat Goes On” by Vanilla Fudge From Atco 33-237 – The Beat Goes On (LP) Mark Stein – org, Vince Martell – g, Tim Bogart – el b, Carmine Appice –d (Recorded 1968) What? Doesn’t everybody dig Vanilla Fudge?

That Patty Waters CD release was intriguing. I need to get back to it. Should have thought about her when listening to those final tracks of Disc 1

Yeah, I hear that, too. It's like when Charlie Brown was looking to make a trade, and ended up trading his best player (Snoopy) to Peppermint Patty's team just so he could get some decent players. We need pitching. Badly. I guess as far as expendability goes, Soriano's first on the list, cuz we're not letting go of Mench, Blalock, Big Tex, etc. At least, we better not be!!! Soriano's a decent enough player, but he's made some costly blunders here lately, both offensively and defensively. Thankfully, none of them have been game-changing (to my knowledge, anyway); but it's like sending Cordero out there with a lead: you know he's more than capable of blowing it, yet you send him out there because of what he's done in the past, praying that he doesn't blow it THIS time. Thankfully, last night more than justified people's faith in him. But then, with all the homers flying out of the ballpark tonight, Soriano could've played standing on his head and it might not've made a difference. And now the A's are coming back to give us more abuse. I tell ya, John, we may be behind Seattle before this weekend's out after all!!!!

Just noticed this on the ESP website: ESP has begun to convert its catalog to surround sound dvd, utilizing a proprietary system called SONATURE (www.sonature.com). The first titles to become available on dvd will be Albert Ayler (Spiritual Unity, Bells, Spirits Rejoice, and a previously unissued cd and dvd of the concert at the Maeght Foundation), and Sun Ra's Heliocentric Worlds vols 1 and 2, Nothing Is, and previously unissued material. Patty Waters and the Pearls Before Swine (both One Nation Underground and Balaklava) will also be converted to surround sound. No other details of these or regular CD reissues that I could see... Don't know how regularly they update the site though.

Mal Waldron - Blood and Guts Alan Silva - My Country Noah Howard - At Judson Hall Dave Burrell - High Michel Portal - Splendid Yzlment Karlheinz Stockhausen - Aus den Sieben Tagen: Kommunion/Intensitaat Patty Waters - College Tour Don Cherry - Symphony for Improvisers John Fahey - Death Chants, Breakdowns and Military Waltzes Sandy Bull - Inventions ...

Patty Duke Earl Warren Joe Queenan

Shawn Colvin Harold Melvin Mike Melvoin Wendy Melvoin Sheena Easton Patty Kotero(A/K/A Apollonia)

Joss Stone is marginally better than Al Jolson. She sounds like a pretender and she makes me cringe. I watched her sing several songs the other night and marvelled at how truly awful she is. Her tortured, marble-mouthed, pronunciations are painful to listen to. If she's had any training, she's thrown it all out the window to sound like someone who is doing a really bad imitation of a soul singer. The comment about her getting over if she was black and heavier is an unbelievably ignorant, ignorant comment on so many levels. If she was black and heavier, she'd be getting no attention at all since no one is interested in a chubby, black, marginally talented singer. Jill Scott is chubby with loads of talent and is light years from becoming a household name. Alicia Keys is a good songwriter and a good singer. What melismas? What songs are you referring to? I don't hear much of that in her music although melismas in R&B are part of the package. I don't understand this comment. Isn't this the gospel influence in R&B? Isn't this what distinguishes this music from, say, Vicky Carr? Whatever. I've avoided this thread because I'm not sure how to discuss R&B with people who think Joss Stone is a terrific R&B artist and Alicia Keys is a no talent pop singer. That is just weird. Very weird. I've been listening to R&B as long as I've listened to jazz, better than 50 years, and the discussion here is just weird as hell. I guess soon you all will be telling us that Patty Paige invented R&B. My goodness, I feel like I've stepped through the looking glass.

Bilbo Baggins Jeff Bagwell Duke of Wellington Patty Duke John Astin Morticia Addams (JK, just follow along for awhile... you'll catch on ) John Adams John Quincy Adams Adam Sandler

Bilbo Baggins Jeff Bagwell Duke of Wellington Patty Duke John Astin Morticia Addams (JK, just follow along for awhile... you'll catch on )

Here is a recent article from Variety ... I am not sure whether to get out my Visa card for the misssing OJCs in my collection .... Concord's Vineyard Overflowing Label follows Grammy wins with jazz, adult pop staples by Phil Gallo Variety, March 21, 2005 Following the phenomenal success of Ray Charles' final recording, Concord Records is getting back to business as usual. Label resumes its role as a jazz and adult pop house, working a slate of 23 new albums that will be released between now and the end of August. It includes an intriguing confluence of female singers -- Mary Haskell, Keely Smith and Debby Boone -- with new albums hitting retail within the next five weeks. "The first thing we look for is quality plus a reason to do something," says Gene Rumsey, general manager of Concord. "The consistent thing across all three records is the quality of the recording." For the Smith record, titled "Vegas '58 Today" and filled with the repertoire she and Louis Prima performed in Las Vegas, Concord has "a story that should be retold and one that coincides with the 100th birthday of Las Vegas." As for Boone, Rumsey noted: "It's ironic that Rosie's daughter-in-law comes to us right about the same age as when Rosie came to us. After hearing the music, we had a great reason to do this." Boone will be part of the Rosemary Clooney remembrance June 20 at Carnegie Hall. Haskell, a former Miss Mississippi who gave up her showbiz career after she married former William Morris exec Sam Haskell and started a family, is going a unique route: recording well-known songs that work on a spiritual as well as musical level. Titled "Inspired: Standards Good for the Soul," Haskell's disc attempts to cross between the jazz world and the contempo Christian market. Discovered singing with Concord associate Michael Feinstein, she opened a show for Sandi Patty, made TV appearances and will play Feinstein's in New York as well as opening for Tony Danza on March 28. Haskell hopes to be booked into larger church venues, where she will sing standards such as "You'll Never Walk Alone" along with songs from the tuners "Wicked" and "Under the Bridge" plus a number by Dolly Parton. As she puts it: "timeless melodies with a timely message." "One young guy in our international division came into my office and asked me, 'How do I make the world a better place?'" Rumsey relates, noting he was taken aback by the question. "As you listen to the music, you hear a desire on her part to make a difference, to help people get through difficult periods. "It presents a bit of a challenge because it's tough to market to inspirational radio and Christian bookstores. But there is a message, and we have to show how it fits nicely in the cracks." After the releases from the femme warblers hit retail, Concord -- which switched distribution to Universal from Ryko this month -- will issue new recordings from jazzsters Gary Burton and Scott Hamilton, Eric Clapton's drummer Jamie Oldaker and singers Dianne Schuur, Curtis Stigers and Nnenna Freelon. Subsid labels Peak, Stretch and Picante will issue discs by Dave Weckl, Eddie Palmieri, David Benoit, "American Idol" finalist LaToya London, the Rippingtons and Poncho Sanchez. Also on tap are archival releases by Bobby Darin, Marian McPartland and Tony Bennett. That gets the label through August, by which time it is expected to have a plan in place for Fantasy Records, which the label acquired late last year for some $80 million. Fantasy, which includes Stax, Milestone, Prestige, Pablo and other imprints, is one of the largest jazz catalogs in the U.S., also boasts many of the finest soul sides to come out of Memphis in the 1960s and all of Creedence Clearwater Revival's albums. (An olive branch has been extended to CCR's John Fogerty, who had a contentious and litigious relationship with Fantasy and owner Saul Zaentz for three decades). Fantasy is based in Berkeley, Calif., where it has kept a low profile releasing thousands of older albums on CD while new recordings from the likes of Sonny Rollins and Jimmy Scott are kept to a minimum. Rumsey says no decision has been made on whether the label should remain based in Northern California or if the operations should be combined. "Fantasy execs know the restrictions and they've run a really good business," Rumsey observes. "There's no reason to radically change that. We have to do it in a measured way." One part of the puzzle in the success of Ray Charles' "Genius Loves Company" was the involvement of Starbucks and its label Hear Music. Rumsey and Concord execs are finding more willing partners, among them FTD and Hallmark, but the two worlds are operating on different time schedules. "It's better to take your product to where the consumer is, but we're dealing with people whose planning is well into 2006. And we're asking, 'How about Mother's Day?'"

Jazzbo, I would be interested in more info about the Baby Huey, I have been eying that one up along with the Patty Waters...

The german reissues put out by zyx deffinitely had the first Patty Waters album.Not sure about Calibre in the Netherlands, I think not. And then there are the 2 Italian programmes, Get Back on vinyl and Abraxus on cd. Forced Exposure used to list the latter programme....Hope that helps.

I like that Betty Wright CD & the Patty Waters too.

Might as well copy and paste it here: WATER Holy Modal Rounders - The Moray Eels Eat The Holy Modal Rounders CD WATER101 The Zodiac - Cosmic Sounds CD WATER 102 Albert Ayler - Nuits De La Fondation Maeght CD WATER 103 Sonny and Linda Sharrock - Paradise CD WATER 104 John Hammond - Sooner Or Later CD WATER 105 John Hammond - Southern Fried CD WATER 106 Terry Reid - River CD WATER 107 Terry Reid - Silver White Light: Live At The Isle Of Wight 1970 CD WATER 108 Bob Neuwirth - Bob Neuwirth CD WATER 109 Joseph Spence - Happy All The Time CD WATER 110 Pearls Before Swine - These Things Too CD WATER 111 Pearls Before Swine - The Use Of Ashes CD WATER 112 Pearls Before Swine - City Of Gold CD WATER 113 Pearls Before Swine - Beautiful Lies You Could Live In CD WATER 114 Byard Lancaster - It's Not Up To Us CD WATER 115 Eugene McDaniels - Outlaw CD WATER 116 Eddie Gale - Eddie Gale's Ghetto Music CD WATER 117 Eddie Gale - Black Rhythm Happening CD WATER 118 Jack Palance - Palance CD WATER 119 Steve Marcus - Tomorrow Never Knows CD WATER 120 Clarence Reid - Dancin' With Nobody But You Babe CD WATER 121 Melvin Van Peebles - What The... You Mean I Can't Sing?! CD WATER 122 William S. Fischer - Circles CD WATER 123 Ian Matthews - Valley Hi / Some Days You Eat The Bear, Some Days The Bear Eats You CD WATER 124 Tom Rapp - Familiar Songs CD WATER 125 Chris Ethridge/John Barbata/Joel Scott Hill - L.A. Getaway CD WATER 126 Barbara Keith - Barbara Keith CD WATER 127 Roland Kirk - Here Comes The Whistleman CD WATER 128 Charles Mingus - Tonight At Noon CD WATER 129 Holy Modal Rounders - Bird Song: Live 1971 CD WATER 130 Alexis Korner & Snape - Accidentally Borne In New Orleans CD WATER 131 Lou Johnson - Sweet Southern Soul CD WATER 132 Duke Pearson - The Phantom (Featuring Bobby Hutcherson) CD WATER 133 Reuben Wilson - A Groovy Situation CD WATER 134 Young-Holt Unlimited - Born Again / Mellow Dreamin' 2CD WATER 135 Pearls Before Swine - The Wizard Of Is 2CD WATER 136 Patty Waters - You Thrill Me: A Music Odyssey 1962-1969 CD WATER 137 Les McCann - Invitation To Openness CD WATER 138 John Fahey - The Great Santa Barbara Oil Slick CD WATER 139 Betty Wright - Hard To Stop CD WATER 141 Baby Huey - Living Legend: The Baby Huey Story CD WATER 142 Lou Donaldson - Say It Loud! CD WATER 143 Jack McDuff - Who Knows What Tomorrow's Gonna Bring CD WATER 144 John Simon - John Simon's Album CD WATER 145 Leo Wright - Soul Talk CD WATER 146 Pearls Before Swine - Jewels Were The Stars 4CD Box WATER 200 Albert Ayler - Nuits De La Fondation Maeght 1970 Vol. 1 LP WATER 501 LP Albert Ayler - Nuits De La Fondation Maeght 1970 Vol. 2 LP WATER 502 LP

While this isn't a jazz magazine, it is one I have been picking up when I see it. It purports to care about "good" music, regardless of style. Granted, it's somewhat corporate, but what isn't these days. I think their intent is good (or they're fooling me, which ain't too hard to do). Anyway, I found a couple of interesting things on their year end best of lists. Top 20 Albums of 2004: 1. U2 - How to Dismantle an Atomic Bomb 2. Wilco - A Ghost is Born 3. Loretta Lynn - Van Lear Rose 4. Rilo Kiley - More Adventurous 5. Steve Earle - The Revolution Starts Now 6. Bjork - Medulla 7. Prince - Musicology 8. Norah Jones - Feels Like Home 9. Elvis Costello - The Delivery Man 10. R.E.M. - Around the Sun 11. Kanye West - The College Dropout 12. Tom Waits - Real Gone 13. Youssou N'Dour - Egypt 14. Patty Griffin - Impossible Dream 15. Don Byron - Ivey-Divey 16. Joss Stone - Mind, Body & Soul 17. Jesse Malin - The Heat 18. Franz Ferdinand - Franz Ferdinand 19. Nellie McKay - Away From Me 20. J.J. Cale - To Tulsa and Back Top 10 Reissues: 1. Bob Dylan - Live 64 Concert at Philharmonic Hall/Bootleg Vol. 6 2. John Lennon - Acoustic 3. Animals - Retrospective 4. Candi Staton - Candi Staton 5. Faces - Five Guys Walk Into A Bar 6. Talking Heads - The Name of this band is Talking Heads 7. Jerry Garcia - All Good Things Box 8. Miles Davis - Seven Steps Box 9. Brian Eno - assorted reissues 10. Rockpile - Seconds of Pleasure Top 10 DVDs: 1. Beatles - First US Visit 2. MC5 - A True Testimonial 3. Rolling Stones - Rock and Roll Circus 4. Elliott Smith - Olympia, Washington 5. Elvis Presley - '68 Comeback Special 6. Hip Hop Time Capsule: Best of RETV 1992 7. Can - DVD 8. Howling Wolf - The Howlin Wolf Story 9. Sun Ra - Space is the Place 10. Tom Dowd & The Language of Music ...I was glad to see the Don Byron album up there! And how the new U2 album can be the best of 2004 when it hasn't even been released kind of confuses me, but oh well. And ya gotta like any list in 2004 that includes Sun Ra!!

Kenny Garrett with Patty M - Music of John Coltrane Larry Young - Into Somethin' VSOP - The Quintet VSOP - Live Under The sky

How's the side w/Patty Waters?