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I thought it would be nice to spare a thread for the great R&B saxmen, particularly (but not exclusively) of the 40s & 50s. So let's start with the 80s just because I'm listening to Gil Scott-Heron's 'From South Africa to South Carolina' which features one Bilal Sunni Ali taking a quite advanced, Pharoah Sanders-style, tenor solo on the track 'Essex'. So who is this guy, when he's not using his Islamic name? Anyone know him? And, since I've mentioned him, don't forget about Pharoah in this context... But OK, back to the old timers. And omigod weren't there a lot of them? In the order I thought of them... Paul Williams Wild Bill Moore Jimmy Forrest Jimmy Coe Hal Singer Red Prysock Sil Austin Maxwell Davis Big Jim Wynn Morris Lane Jack McVea Illinois Jacquet (I should have put him first) Weasel Parker Harold 'Geezil' Minerve Willis 'Gator Tail' Jackson Eddie Chamblee Bubba Broooks Little Willie Jackson Bullmoose Jackson Clyde 'Blowtop' Lynn Lynn Hope Big John Greer Joe Houston Earl Effin' Bostic (should have started with him, too ) Frank 'Floorshow' Culley Lee Allen Alvin Tyler Herb Hardesty Big Jay McNeely Sam 'The Man' Taylor Ray Abrams James Von Streeter Lorenzo Holden Preston Love Jackie Kelso Buddy Floyd William Gaither Benjamin Waters Eddie Taylor Big Al Sears Plas Johnson (he should be in big letters) Paul Bascomb Fred Jackson Jimmy Wright Jesse Powell Buddy Lucas David 'Fathead' Newman King Curtis Hank Crawford Fred Ford Red Holloway Maceo Parker Pee Wee Ellis Nearly forgot Clifford Scott!!! Gene 'Daddy G' Barge Arthur 'Fats' Theus Omigod forgot Louis Jordan!!! Eddie 'Cleanhead' Vinson Don Wilkerson Bumps Myers Holley Dismukes Bloody 'ell! Not one of these could Sanborn cut. MG

It is with a heavy heart that I must announce that the pianist/composer, and my friend, Burton Greene died today in his home of Amsterdam at the age of 84. Burton's piano approach ranged from the influences of Horace Silver, Monk and Lennie Tristano to Indian music, Klezmer, and Bartók (he is of Romanian Jewish descent), creating a melodic, meditative, and rhythmically rich stew from which freedom could emerge. Burton recorded prolifically as a leader beginning in 1966 for ESP-Disk', followed by albums on BYG, Columbia (!), Horo, Hat Hut, Circle, Cat Jazz, Button Nose, CIMP/Cadence, NoBusiness, Drimala, Tzadik, and other imprints. Notable appearances include those with Marion Brown, Albert Ayler, Patty Waters, Perry Robinson, Sam Rivers, Byard Lancaster, Alan Silva, Roy Campbell Jr., and Gong, though his work as a soloist and interpreter is also vast. Despite less recognition than he and his fans might have hoped, he toured Europe and the US into 2019, a true soldier of the road. I got to know Burton in 2004 through interviewing him for the New York City Jazz Record (at that time called All About Jazz New York) and we became good friends -- I was lucky to experience his many stories and ideas through conversations over the phone, email, and in person (he inaugurated our apartment in Brooklyn as the "home for wayward jazz musicians" after staying with us in 2012) and we had hoped to do a festival including his US trio in 2020 until COVID put the kibosh on it. I'll forever cherish the friendship and memories as well as the many hours of great music. Rest in Power, Burton.

It's a pretty serious hit job. I always wondered whether something personal lay behind it. It's not like Greene was the most high profile white free jazz artist. Until I read that Nate Chinen piece, I actually had no idea that Burton Greene was on that Patty Waters album. It's an album I have lived with all my adult life, since before I even got into jazz. The brittle sounds of the strummed insides of the piano have really stuck with me through the decades.

Wasn´t Muddy Waters together with Miles on a tour in autumn 1986. I mean they didn´t Play together, it was just that Miles´band (then playing all the stuff from Tutu) played first and Muddy Waters second. I remember the Miles Thing very well, but not so much About Muddy Waters, that is not so really what I usually listen to, R&B or what it is…. I was astonished that Miles played first , but later learned that he Always played first when he was booked on a bill with other musicians, because he didn´t want to wait...

My god, does singing get any more honest than this? A collection of material from Waters' own personal collection, this set includes a 1964 Jax Beer jingle (w/Joe Newman!), a 1963 demo session for Columbia (produced by Tom Wilson, whose between-take chatter is priceless, a 1960 cut recirded in San Diego (when Waters was still singing, quite well, too, in a "traditional" "torch song" style, and, the real news, pieces recorded in 1970, 1971, 1972, and 1979, years which Waters was allegedly "lost" a la Henry Grimes. The material is a collection of standards and originals. The latter are very, VERY personal in their lyrics. Some might even call them obsessive. They focus on lonlieness and love for somebody who's not there any more (possibly Clifford Jarvis?), and they are at once compelling and disturbing, although Waters' delivery is very, VERY low-key. There's also a long solo piano piece that is simply beautiful. Nothing at all "difficult" about it, but the timing and the sensitivity of the playing makes it difficult not to get pulled in/wrapped up in it. Highlight of the disc for me is a version of "For All We Know" from 1979 - just a vocal-piano duet (all the vocal numbers save for the Jax thing, are piano (either Waters herself or somebody else) and vocal only). This song has a pretty intense lyric anyway, but Waters sings it with a mixture of resignation, sadness, loss, and quiet (VERY quiet) desperation that is the definitive reading of it, at least that I've heard. There's none of the groundbreaking extended vocal techniques of the ESP albums, btw. This is just a collection of songs by a woman who sounds like she's been there and back, and if she hasn't yet begin to find all the piecesto put back together yet, she definitely knows what it'll be like when she does. IF she does (and reports are that she has, thank God). Certainly not for everybody in these less-than-vocalist-friendly parts, but those inclined to get into singers and songs that are totally devoid of artifice and cut straight to the bone of what's going on inside are advised to check it out. It's frighteningly intimate and vulnerable, at times maybe even "unhealthily" so, but I can handle that. BTW - There's a nude photo from 1970 inside the booklet. But it's not nearly as naked as the singing.

Sad to hear. I saw him backing Patty Waters in 2018, along with Burton Greene and Barry Altschul. I believe he was self-taught. RIP.

http://www.latimes.c...0,4952137.story

Looks like I was at some of the shows already mentioned. This was my best Big Ears yet. Saw many EXCELLENT performances - some expected and many that were NOT. Some favorites were: Attacca Quartet, mssv, Taborn Trio, Cyrille w/Akinmusire, Patty Smith Band, Myra Melford & Snowy Egret and ALL of Sunday except for dePlume and Frisell (who spent too much time noodling and playing with electronics) THURSDAY Kronos Quartet + So Percussion, Caroline Shaw, Shodekeh 75 Dollar Bill Attacca Quartet Bill Callahan mssv (Mike Baggetta, Mike Watt, Stephen Hodges) FRIDAY Conversation: Ann Powers w/Joe Henry, Jason Moran Craig Taborn Trio w/Tomeka Reid, Chez Smith Harriet Tubman Jeff Parker & New Breed w/Makaya McCraven, Josh Johnson, Paul Bryant Andrew Cyrille w/Akinmusire Patti Smith Band Kim Gordon (15 minutes) Mdou Moctar SATURDAY Nikki Giovanni Myra Melford & Snowy Egret Caroline Shaw/Attacca Quartet Meredith Monk w/Bang on a Can All-Stars, Theo Bleckman Val Jenty Circuit des Yeux Annette Peacock SUNDAY Alabaster dePlume Miguel Zenon & Spektral Quartet Bill Frisell Trio w/Brian Blade, Thomas Morgan Odean Pope & Immanuel Wilkins w/Kresten Osgood, drums Bang on a Can All Stars (Terry Riley's Autodreamographical Tales) John Zorn New Electric Masada w/Bill Frisell, Julian Lage, John Medeski, Brian Marsella, Trevor Dunn, Kenny Wollesen, Ches Smith, Kenny Grohowski

Neil Norman's liner notes say he found the tape in his father Gene Norman's garage in the 1990s. http://gnpcrescendo.com/wp/ LABEL, REPERTOIRE MUDDY WATERS LIVE IN LOS ANGELES 1954 JUNE 16, 2021 LEAVE A COMMENT >> Link to purchase<< • GNP Crescendo proudly presents a brand new, never-before-heard recording that is essential listening for any student of the blues. Live In Los Angeles 1954 captures the father of the electric blues, Muddy Waters, at the peak of his powers, in a riveting performance that easily explains an immense reputation that continues to this day. • Muddy and his band were appearing at one of deejay and impresario Gene Norman’s legendary blues and jazz promotions at the Shrine Auditorium, which drew unprecedented mixed race crowds to hear some of the best talent the black music world had to offer. On this particular occasion, Muddy’s ensemble featured such luminaries as pianist Otis Spann and harmonica legend Little George. • Their twenty minute set includes the blues classics made famous by Muddy, ‘Hoochie Coochie Man’ and ‘I Just Want To Make Love To You,’ along with exciting romps through ‘Baby Please Don’t Go’ and ‘I’m Ready,’ and there is the bonus of a brief interview with the great man. • The tape of the performance has lain in the Crescendo vaults for decades, until dusted off for this special issue. The sound quality is sensational for a recording of such vintage, and the package is presented on 10-inch vinyl in a deluxe tip-on sleeve, with art in the mode of the iconic early 1950s Gene Norman Presents releases.

This one https://www.discogs.com/release/14378272-Jamael-Dean-Black-Space-Tapes And if you like it then his more recent one, it's long and features vocals but I think it's very good https://www.discogs.com/release/21767839-Jamael-Dean-Primordial-Waters

The Member of the Wedding Ethel Waters John Waters

The Delta Rhythm Boys Ransom Olds Patty Hearst

A buddy sent me this link to a 1964 Jax Beer jingle featuring Patty Waters of ESP fame. Check it out! http://stasick.org/pattywaters.mp3 I actually think that I remember hearing this on the air regularly in 1964. We were living in Shreveport, La then, and the airwaves were pretty full of Jax beer commercials. The first play of this file "sounded familiar", I can tell you that! PATTY WATERS!!!!!

I know this is nothing new, but I'm reading "About Time", a recent bio of Stevie Winwood, and the author, Chuck Sullivan, is an accomplished record producer, recording engineer , and drummer. He has a large section on SW's years as a session player, and he raves about the creative, spontaneous things SW did as a sideman with Jimi Hendrix, Joe Cocker, Leon Russell,B.B. King, Muddy Waters, Lou Reed, Robert Palmer, etc., back in 1968-74., when recording technology was still very basic. "Today's recording tools, which basically allow for a cut and paste approach to forge a perfect pitch-corrected sound, can actually discourage imagination and inspiration.....Even the most basic home studio can now cut and paste audio, as well as pitch-correct vocals, resulting in 'perfect' albums that often have no individuality." I think that about says it all.... .

Patty McGovern, with the Tommy Talbert Orchestra, "Wednesday's Child" Japanese lp facsimile cd. Midwest Cool music. Adding to the easing into Monday. I missed my stereo so much this weekend!

Benny Waters, From Paradise (Smalls) to Shangrila (Muse) Orchestre Les Volcans Du Benin

Thank you! Never heard of Ivan Black, nor of Patty Bowen being a comedienne as well as a pianist, but there's always something new to learn!

Ok, let's get things straight on Tete Montoliu's first stay in the United States: Tete travelled to New York for a dinner-dance program of the Spain-United States Chamber of Commerce called "An Evening In Barcelona" to be held on April 1, 1967, together with vocalist Núria Feliu. On April 3 a private party at Willis Connover's apartment was held to present Tete Montoliu to the New York jazz scene. Reportedly, Gil Evans, Dave Brubeck and Bob Thiele were present. Although he arrived with no American commercial commitments, Tete Montoliu was quickly signed by agent Ivan Black for a night club engagement at the Village Gate (Top of the Gate) and for a recording session for Impulse Records. In "Tete. Casi Autobiografía", Miquel Jurado mentions that Montoliu's stay in New York lasted for three months. Tete Montoliu, in an interview published in Quàrtica Jazz #1 (January 1981), refers to two months and a half. The Ivan Black Papers, the New Yorker, the NYTimes ("Cabaret Tonight" section, April 11, 1967) and a brief notice in the Daily News (April 10, 1967) confirm that Montoliu's engagement at the Top of the Gate started on Tuesday, April 11, 1967. The last performance must have taken place on June 10, according to the New Yorker. Certainly, in June 13, Montoliu was not playing at the Top of the Gate, since both the NYTimes (June 13, 1967) and the New Yorker (June 17, 1967 issue) list the Mose Allison Trio and pianist-comedienne Patty Bowen. This is the review in the NYTimes (April 15, 1967) by John S. Wilson: “Montoliu, Spanish Jazz Pianist, Brings His Quiet Stylism to U.S (…) The most noticeable influences to be heard in his playing are the late Art Tatum, who came from Toledo (Ohio), and Bill Evans. Like Mr. Tatum, who was partly blind, Mr. Montoliu has remarkable technical dexterity, which he uses to create long, complex lines that flow over and through each other, weaving patterns that become almost hypnotic. To this he has added a meditative, reflective quality that stems from Mr. Evans. The total effect is a moving mosaic made up of bits and pieces of melody and rhythm that never goes directly forward but gives an impression of steady, billowing propulsion. In the process, Mr. Montoliu deepens the airy cascades of Mr. Tatum’s style and enlivens the Evans-like mulling. Control, polish and quiet understatement color his performances. Each piece is a beautifully finished cameo, but, over a full evening, this eventually builds a sense of restraint. One keeps hoping that Mr. Montoliu will burst out of his neat, compact frameworks and give his virtuosity wider latitude (…).” Artists sharing the bill with Tete at the Top of the Gate during this period included Blossom Dearie (four weeks), Marian McPartland Trio (three weeks) and Mose Allison Trio. Sources: The New Yorker, The Villager, Variety, Billboard, New York Times, New Yorks Amsterdam News, Daily News. The Ivan Black papers at the NY Public Library. Miquel Jurado biography on TM. More to come on the Impulse! recording.

where to start? sadly no mosaic. recommendations please!

I play (sax) a little, but I don't hear keys or chord changes well at all although I do know blues when I hear it and I at least used to be able to improvise on a blues or two chord vamp and make the changes without having to think too much about it. I like to think I can recognize players by their sound and phrasing. When listening for pleasure, I focus on sound, mood, and dynamics - I like to hear the players interact and respond to each other. I like to hear ideas develop and like things that gradually morph from one thing to another. I love blues and swing, but there are lots of different ways to play with feeling. I like folks that got their own voice, I respect but don't love professionalism, versatility, and being a utility player. I love Sonny Rollins, Thelonious Monk, Lester Young, Professor Longhair, Muddy Waters, Lee Morgan, Miles Davis, Otis Redding, early Stax in general, Willie Nelson, Burt Bacharach, Beatles, Stones, Blue Note from the first note but not the new note, Smokey Robinson as both a singer and a writer, basically anything I can hear the humanity in. Oh, and Chuck Berry and Little Richard and Elvis and doo wop in general. But I can be quirky - I draw 'the line' between Jeff Beck's Truth which I love despite the complete lack of songwriting, and Led Zep which I consider utterly empty bombast. I love folk, as in traditional anonymous songs of the Anglo Celtic sort and others too, but have little use for most 'folkies' who write their own and don't really see them as the same sort of thing at all. I was once a pretty big Bob Dylan fan, but he lost me long ago although I do still enjoy most of what I bought when I was a fan. I struggle with most recent music of any popularity, but love talking with my daughter about it. I dabble in classical and prefer chamber generally. I think I listen to jazz basically the same way as to other things, but not totally.

I just got an E-mail from Tommy's Jazz offering Muse & Landmark LPs. I have a few of these already but I was wondering of there might be some in here that are "must have" recordings that I might have missed. Anyone want to chime in? Muse Records Vinyl $10.00 Each 5062 Kenyatta, Robin Nomusa 5065 Bonner, Joe The Lifesaver 5082 Cole, Richie & Kloss, Eric Battle Of The Saxes, Vol. 1 w/ Eric Kloss, Mickey Tucker, etc. 5109 Friesen, David Color Pool 5143 Schwartz,Jonathan Alone Together 5145 Jones, Etta My Mother's Eyes 5147 Kloss, Eric Now w/ Mike Nock, Mike Richmond, etc. 5150 Juris, Vic Roadsong w/ Barry Miles, Richie Cole, etc. 5153 Schnitter, David Goliath w/ Cecil McBee, Claudio Roditi, etc. 5154 Daniels, Eddie Brief Encounter w/ Rick Laird, Andy Laverne, etc. 5155 Cole, Richie Alto Madness w/ Harold Mabern, Eddie Jefferson, etc. 5156 Earland, Charlie Mama Roots w/ Dave Schnitter, George Coleman, etc. 5161 Person, Houston Wildflower w/ Bill Hardman, Sonny Phillips, Jimmy Ponder, etc. 5164 Ludwig, Gene Now's The Time w/ George Green, Larry McGee, etc. 5166 King, Morgana Stretchin' Out w/ Joe Puma, Eddie Daniels, etc. 5185 Lytle, Johnny Fast Hands w/ Houston Person, Mickey Tucker, etc. 5188 Ford, Ricky Manhattan Plaza w/ Jaki Byard, Dannie Richmond, etc. 5190 King, Morgana Everything Must Change w/ Jack Wilkins, Ben Aronov, etc. 5193 Shoemake, Charlie Sunstroke w/ Kenny Barron, Cecil McBee, Al Foster, etc. 5197 Schnitter, David Thundering w/ Kenny Barron, Billy Hart, Cecil McBee, etc. 5211 Giordano, Steve Daybreak w/ Barry Miles, Mke Richmond, Billy Hart, etc. 5227 Ford, Ricky Flying Colors w/ John Hicks, Walter Booker, Jimmy Cobb 5229 Goldstein,Gil Wrapped In a Cloud w/ Danny Gottlieb, Mark Egan, etc. 5234 Newman, David "Fathead" Resurgence w/ Marcus Belgrave, Cedar Walton, etc. 5242 Sullivan, Ira Ira Sullivan...Does It All w/ Red Rodney, Garry Dial, etc. 5245 Cole, Richie Cool "C" 5246 Eschete, Ron Line Up w/ Luther Hughes, John Perett 5249 Tate, Buddy Hard Blowin' w/ Ray Bryant, George Duvivier, Alan Dawson 5251 Forman, Bruce River Journey w/ Richie Cole, Bob Magnusson, etc. 5255 Friesen, David Storyteller w/ John Stowell, Paul McCandless, etc. 5256 Dailey, Albert Textures w/ Rufus Reid, Eddie Gladden, Arthur Rhames 5263 Chamberland L/Friesen, Dave Yet To Come w/ Gary Hobbs, David Friesen 5265 Juris, Vic Bleecker Street w/ Eric Kloss, Gil Goldstein, etc. 5270 Cole, Richie Alive! At The Village Vanguard w/ Bobby Enriquez, etc. 5273 Forman, Bruce 20/20 w/ Albert Dailey, Billy Hart, Tom Harrell, etc. 5275 Ford, Ricky Interpretations w/ John Hicks, Wallace Roney, etc. 5276 Farber, Mitch Star-Climber w/ Randy Brecker, Steve Khan, Mark Egan, etc. 5279 Hodes, Art w/Hinton, Milt Just the Two of Us 5282 Vinson, Eddie Cleanhead Eddie "Cleanhead" Vinson and Roomful of Blues 5283 Newman, David "Fathead" Still Hard Times w/ Hank Crawford, Steve Nelson, etc. 5290 Rodney, Red The 3 R's w/ Richie Cole, Ricky Ford, Grady Tate, etc. 5291 Kloss, Eric Doors w/ Neal Creque, Gene Taylor, etc. 5295 Cole, Richie Some Things Speak for Themselves w/ Bruce Forman, etc. 5296 Ford, Ricky Future's Gold w/ Larry Coryell, Albert Dailey, etc. 5302 Phillips, Esther A Way to Say Goodbye 5303 Coryell, Larry Comin' Home w/ Albert Dailey, George Mraz, Billy Hart, etc. 5305 Waldron, Mal & Friesen, David Encounters 5307 Rodney, Red Alive in New York w/ Ira Sullivan, Garry Dial, etc. 5312 Warren, Earle Earle Warren and "The Countsmen" 5313 Adams, P. / Foster, Frank Generations w/ Vinnie Cutro, James L. Dean, etc. 5314 Ford, Ricky Shorter Ideas w/ James Spaulding, Jimmy Knepper, etc. 5315 Forman, Bruce The Bash w/ Albert Dailey, Buster Williams, Eddie Gladden 5319 Coryell, Larry Equipoise w/ Stanley Cowell, Billy Hart, Buster Williams, etc. 5320 Murphy, Mark Sings Nat's Choice, The Nat "King" Cole Songbook, Vol. 2 5322 Ford, Ricky Looking Ahead w/ James Spaulding, Kirk Lightsey, etc. 5325 Schwartz, Jonathan Anyone Would Love You 5326 King, Morgana Simply Eloquent w/ Bill Mays, Steve LaSpina, etc. 5332 Rangel, Nelson Members Only with Nelson Rangel, etc. 5339 King, Morgana Another Time, Another Space w/ Ben Aronov, etc. 5340 Waters, Benny From Paradise (Small's) to Shangri-La w/ Don Coates, etc. 5346 Roney, Wallace Intuition w/ Ron Carter, Kenny Garrett, Cindy Blackman, etc. 5347 Ponder, Jimmy Jump w/ "Big" John Patton, Eddie Gladden, etc. 5348 The Members...Too The Way You Make Me Feel w/ Nelson Rangell, etc. 5349 Ford, Ricky Saxotic Stomp w/ James Spaulding, Kirk Lightsey, etc. 5350 Coryell, Larry Toku Do w/ Stanley Cowell, Buster Williams, Beaver Harris 5351 Jones, Etta I'll Be Seeing You w/ Houston Person, Stan Hope, etc. 5352 Carvin, Michael First Time w/ John Stubblefield, Claudio Roditi, etc. 5355 Murphy, Mark Beauty and the Beast w/ Bill Mays, Joey Baron, etc. 5360 Coryell, Larry Shining Hour w/ Kenny Barron, Buster Williams, etc. 5362 Walrath, Jack Wholly Trinity w/ Chip Jackson, Jimmy Madison 5363 Hendricks, Michele Keepin' Me Satisfied w/ Slide Hampton, David Newman, etc. 5366 Jordan, Sheila Old Time Feeling w/ Harvie Swartz 5367 Sasajima, Akio Akio with Joe Henderson 5369 Spaulding, James Brilliant Corners w/ Wallace Roney, Ron Carter, etc. 5370 Carvin, Michael Between Me And You w/ Claudio Roditi, Cyrus Chestnut, etc. 5371 Rodney, Red Bird Lives! w/ Charles McPherson, Barry Harris, etc. 5378 McNeely, Jim The Plot Thickens w/ John Scofield, Mike Richmond, etc. 5379 Jones, Etta Sugar w/ Earl Coleman, Houston Person, Stan Hope, etc. 5380 Williams, Rod Hanging In The Balance w/ Marty Ehrlich, etc. 5381 Lynne, Gloria A Time For Love 5383 Hoggard, Jay Overview w/ Geri Allen, Frederick Waits, Ed Rozie 5385 Brown, Donald Sources Of Inspiration w/ Eddie Henderson, Gary Bartz, etc. 5386 Harris, Jerome In Passing w/ Marty Ehrlich, Jay Hoggard, etc. 5389 Plaxico, Lonnie Plaxico 5390 Jordan, Sheila Lost And Found w/ Kenny Barron, Harvie Swartz, Ben Riley 5411 Jones, Etta Christmas with Etta Jones 5433 Person, Houston Why Not w/ Joey DeFrancesco, Philip Harper, etc. Landmark Vinyl $10.00 Each 1501-2 Hutcherson, Bobby Good Bait 1504-2 DeJohnette, Jack Piano Album 1506-2 Heath, Jimmy New Picture 1507-2 Miller, Mulgrew Keys To The City 1508-2 Hutcherson, Bobby Color Schemes 1511-2 Miller, Mulgrew Work! 1512-2 Montgomery, Buddy Ties of Love 1513-2 Hutcherson, Bobby In The Vanguard 1514-2 Heath, Jimmy Peer Pleasure 1515-2 Miller, Mulgrew Wingspan 1516-2 Byrd, Donald Harlem Blues 1517-2 Hutcherson, Bobby Cruisin' The Bird 1518-2 Montgomery, Buddy So Why Not? 1519-2 Miller, Mulgrew The Countdown 1520-2 Moore, Ralph Images 1522-2 Hutcherson, Bobby Ambos Mundos 1524-2 Whitfield, Weslia Lucky To Be Me 1525-2 Miller, Mulgrew From Day To Day 1526-2 Moore, Ralph Futhermore

living waters

I'm intruiged with this singer some may know from the (cult)album she made with Tom Talbert (Wednesday's Child, Atlantic, 1956). As pleasing as the album is (my opinion), I'm most of all curious about her songwriting skills. On the album with Talbert she sings two of her own songs; "Love isn't everything" (Jeanne Lee sang it again on her debutlp) and "I Like Snow". A couple of weeks ago I was looking at some items on ebay. One of them, George Wallington Trio + Eddie Costa Trio Workshop (Verve), took my attention especially 'cause one of the numbers was credited to Patty McGovern... I can't recall the title of the number, but I'm sure it wasn't one of the two I mentioned above. Can someone help me with the title? Anyone familiar with other songs of her? And most important what became of her? Thank you. j.

Check out the lyrics starting at 1:43