Bill Nelson

Heck, I don't want to put-off prospective listeners of Sauter-Finegan's enjoyable LP. It was my endeavor to compare Sauter's 'Goodman' side with Finegan's 'Miller'. During 1958, Eddie Sauter was in Germany and had his hands full with the Baden-Baden Radio Orchestra. Bill Finegan was Stateside and may have had more time to rework his charts (maybe he conducted both sides of this final LP for RCA). The Sauter side swings and Walt Levinsky plays a hot stick. Finegan's arranging is much more inspired and, in places, jaw-dropping. Both sides provide even more detail and listening pleasure if your copy is in Living Stereo.

Bill Potts' 'Jazz Soul of Porgy and Bess' , UAS-5032 or UAL-4032, was released in 1959 -- one year prior to the premiere of the Ultra Audio, 'Wall-to-Wall Stereo series. Potts' album is numbered to sequence within UA's more legitimate jazz releases. 'Jazz Soul' is far more serious than any of the ersatz, easy listening albums depicted in the discography: http://www.bsnpubs.com/ua/uaultraaudio.html

A week has gone by and most of the available United Artists Ultra Audio LPs have quietly been snapped-up by erstwhile Organissimo crate-diggers (you know who you are). Enough of this shilling for these dramatic 'Wall-to-Wall Stereo' gatefolds -- they're actually not that impressive. The vinyl itself isn't even close to an RCA Living Stereo or a London 'blueback'. The Ultra Audio vinyl is quiet and might be a better grade than the usual UA grist but comes nowhere near the inner jacket blurb touting "the finest recordings that can be made." And as for the artists, whew... let me count the ways: there's a few by Ferrante & Teicher's 'Dynamic Golden Pianos', Terry Snyder's Percussion, Nick Perito's Blazing Latin Brass, and several more by Don Costa. I've got the one-shots by Al Caiola ('Guitars, Woodwinds, and Bongos') and, by far, the most bizarre in the Ultra Audio series, 'The Cats Go Wild'. Check out this link for your must-haves: http://www.bsnpubs.com/ua/uaultraaudio.html

This topic brings me back to a maxim of consumption in Economics 101: the Diminishing Marginal Utility Curve -- the net value/enjoyment from each additional unit -- and the eventual (if not inevitable) downward slope of the curve ... until it flatlines. Or the consumer has dropped dead.

Actually, they did two albums for UA - I have both. The better one is called "Return of Doodletown Fifers," which has updated arrangements of their more famous RCA stuff. I forget the name of the other; IIRC, the first track on each side is blatantly more commercial/easy listening, but the remainder of both sides are pretty solid. Yes, you're right. The two Ultra Audio LPs are: (The WWS stands for 'Wall-Wall-Sound', too cool.) WWS-8511 'Return of the Doodletown Fifers' (1961) WWS-8516 'Pops' (1962) They do 'Bilbao Song' on this. Gil Evans did 'Bilbao' on 'Out of the Cool', rec. late-1960 and released in 1961. Any similar arranging touches on this Kurt Weill classic?

When hipsters drop in for perusing and listening, I hope they don't spot my copy of this -- for fear of the moldy-fig appellation. It was Sauter-Finegan's 10th and last LP for RCA -- and the only one to get the glorious 'Living Stereo' treatment. This is ironic because the album is actually a throwback to the dance band era which was anathema to Sauter and Finegan when they merged arranging forces in 1952. Six years later, they rode out to the sunset with Bill Finegan warming-up his earlier charts for Glenn Miller (he obviously spent time on these) and Ed Sauter dusting-off swing charts he'd done for Goodman. Each arranger got one side of this LP and, let's just say that Sauter (who'd already taken a radio bandleader position in Germany) may have done little more than 'mail it in'. The Bill Finegan side is definately more imaginative and ear-opening. As for the recording team of Sauter-Finegan, in '59 they were enticed by United Artists to record a one-off for their 'Ultra Audio' (in Wall-to-Wall Stereo) series. And that was it. No ruinous feud, a la Martin & Lewis. The economics of running a big band and shifting demographics of the era spelled the end of this creative team.

Many of the Blue Note (and Riverside) 45s went straight to jukebox jobbers -- guys who stocked the jukes in bars and pool rooms. This would've been most prevalent from the late 50's thru the 60's. As far as over-the-counter retail sales, you'd have to visit 'Soul Shacks' in black neighborhoods.

I've gotten three without trying too hard: 45-1708 Bennie Green - Soul Stirrin' 45-1868 Lou Donaldson - Funky Mama (Pts. 1 and 2) 45-1918 Lee Morgan - The Rumproller (Pts. 1 and 2) They came from a defunkt jukebox operator and were $2 each. If you're a serious collector, you should seek out anyone unloading jukebox singles from the 60's.

Yes, the finish is incredible. I've FWD'd it to several of my music comp buds. Thanks for sharing and taking the potential heat from the local curmudgeons , Jim.

According to Steve Hoffman, here's a quick way to tell you've got a good Capitol pressing -- if the matrix# assigned to the album is stamped in an italic or semi-script style in the trail-out grooves (just outside the label). These can be found on both stereo and mono, with the Capitol logo (usually) on the left. There are some with the newer Capitol logos at 12 o'clock, probably affixed as the older vinyl pressings got used up. Well into 1960, just prior to Capitol's T/ST 1500 numeric assigning, the italic stamps were replaced by a smaller, upright, sans-serif text stamping. Please consult your Capitol label expert for more info.

In 1970 while DJ-ing at my college station (WRIU-FM, Kingston, RI), I recall pulling this LP from the jazz stacks to preview for airplay. Try as I might, there wasn't a single track I could find the least bit attractive, with a solid groove or jazz chops. Epic Records flung this one out there to see if it'd stick. Anyone who actually bought a stock copy at regular price had to be nuts. Betcha Ray Draper's mother hated it, too.

Thousands of stand-up comedians just lost two minutes worth of easy jokes along the lines of: "Man, that Michael Jackson's pretty weird, huh? I mean, what's up with him, anyway?"

P-Vine, Shmee-Vine. I'll sit tight and be alright with my 'Soul of O.V. Wright' (MCA 10670). It's 18 tracks of Back Beat (1964-74), mostly 'hit' singles, with some of the later tracks in a gospel vein. Easy to get -- still available new at Amazon for $10.49

The collective Braves' Borg bullpen meld could not throw a strike. The 'pressure' of holding a narrow 10-to-3 lead rendered the robotic relievers unable to find the strike zone -- probably just a program error.

The Audiophlile Splendor of RVG Blue Note Remasters Rudy Van Gelder on Beltone vs. Miracle Ear: "No Difference To Me!"

Buddy Rich's Inner World: Techniques of Serenity and Love The Buddy Rich Teacher's Guide To Encouraging Musical Talent of Young Musicians 'On the Bus With Buddy Rich' -- Fun and Good Times On the Road With His Band

I've had moments of 'significant' blues, but give me a day that's 'blues-drenched' and... I might as well be serving a 'major' in the oblong penalty box... Go for a long ride in the bronze-handled sedan... Book an extended stay in the Deep Six Motel... Slip on a turf tuxedo and hang with the stiffs at Club Mud...or, Hold the line for The Man while waiting in the pine phone booth.

Besides the 'wacka-chicka-wacka' of the title track, the remainder of the LP is one smooth ride arranged by Claus Ogerman. 'Dr.' George Butler must've set aside a heluva budget for this album.

Probably too many "This item has been discontinued by the manufacturer" link responses. AMG would have to hire a full-time checker just to verify the availability of product. Instead, they may have resolved,"Why do we need to promise each CD can be purchased immediately?"

Dusty has listed a truly great MPS CD for $8.99 -- 'Sentimental Journey' by the Singers Unlimited with the Robert Farnon Orchestra. It's THE best album by a jazz vocal ensemble backed by an orchestra -- and the first time I've seen it available as a single CD.

While not privy to EMI accounting systems, I have to believe that 350 copies per CD refers to U.S. sales. The same item would be tracked differently by EMI International Division. But it's just my guess.

from today's Jazz In Print topic thread 'At 70, A Legendary Label Asks, 'Now What?' there's a link to a 2/6/09 same-titled NY Times story with the quote: "Late last year (2008) the label made a round of catalog deletions; any title that sold fewer than 350 copies over a 12-month period was vulnerable." The paragraph implied a battle between those sharp-penciled EMI accountants versus Bruce Lundvall, who could intervene and spare a title or two from expulsion.

The one Blue Note to-be-delected I'm REALLY glad I nailed at $11.99 before it vanished is: Kenny Cox and the Contemporary Jazz Quintet: 'Introducing' ('68) and 'Multidirection' ('69). This BN Conn is getting the axe, barely a year-and-a-half after release by EMI on CD. For anyone with an indelible imprint of Miles' 1965-68 Quintet on their little grey brain cells -- Kenny Cox & the CJQ is a logical extension -- with the exact same instrumentation. Oddly for Blue Note, both albums were recorded in Detroit and originally produced by Francis Wolff. The CD is mastered in 24-bit entirely by Ron McMaster with NO RVG futzing. As long as listeners can cool-out their expectations of hearing the 'sound' of Wayne, Ron, Herbie, and Tony -- this jewel should provide lots of pleasure.

"Debby, she be crazy -- running around nekkid n' barefoot, too." Hey Jazzhound: besides a jacket, why not spring for a pair of shoes?

We might include snaps of 'Fran' Sinatra Jr. after his gender re-assignment.