Bill Nelson

"We shall NOT see his likes again." Really? Has Clem: 1. Gone for a long ride in a bronze-handled sedan? 2. Been whisted by the Ref to serve forever in the oblong Penalty Box? 3. Been 'on hold' in the pine phone booth? 4. Arrived at Club Mud in a turf tuxedo? 5. Checked in the Deep Six Motel for an extended stay?

RCA album cover designers on crack? Uhh, you're 30 years late, Chewski. Since we're talking 1959-61, they'd more likely be swilling martinis and hi-balls. (Check an episode of 'Mad Men' sometime and get a taste of the ad industry during these years.) RCA and Capitol consistently led the field in adventurous cover designs during the 'golden era' of developing the consumer market for LPs. RCA went even further in knocking out these zippy phrases just above the logos on the upper right front. It's as if the exceptional quality of Living Stereo pressings weren't enough and RCA honchos felt consumers needs further 'convincing'. It just lasted for a couple years, but I find these zany phrases adds to the charm of experiencing each LP.

Nauseating? Hardly. They're a gas! What other major label printed jacket fronts implying "file this under: "For Hi-Fanatics" Esquivel- Infinity In Sound "For Woofers and Tweeters" Esquivel - Exploring New Sounds in Stereo "Soundsational!" Marty Gold - Skin Tight "A Romping Holiday" Bob Thompson - Mmm Nice Let's see... should I file that last one under 'Romping' or 'Holiday'? (Such a deep post-modern dilemma!) RCA went with these upper-case headings for many (but not all) of their LSP releases from 1959-61. They stand today as hilarious attempts at product positioning.

As a jazz radio programmer in the early 70's, I recall being unimpressed with both 'Soaring' and Haiku' when the promo copies arrived. They were thin, unformed, and facile, compared to Ellis' earlier works. I dutifully filed them in the station library but never played either of them on air. My advice: tread lightly and sample first.

Since Nobody's Mentioned It Dept. My favorite single LP from the Mosaic box is the last one Wilson recorded for World Pacific, 'Eternal Equinox'. It's seriously hip shit from June, 1969, especially when you've got George Duke, Paul Humphrey, Jean-Luc Ponty, Harold Land, Hadley Caliman, Bobby Hutcherson, and Richard 'Groove' Holmes on board. With the exception of 'Aquarius' from 'Hair' (which is just cool enough) there's no concession to hit pop tunes. Most of the track were written by Wilson and they all groove. Caveat: one track not written by Wilson, the 3-minute 'Baby, Baby Don't Cry' is bewildering and will conk your head when you hear the vocal. (Those with the Mosaic set are probably in the habit of reaching for their remotes.)

I've got 4 Criterions -- and I watch them about once a year: 'Bob le Flambeur' by Jean-Pierre Melville 'Down by Law' by Jim Jarmusch 'M. Hulot's Holiday' by Jacques Tati, and 'Wages of Fear' by Henri-Georges Clouzot The transfer quality is excellent, or certainly the best possible.

Is that a rhetorical question?

Just listened to 'Jambangle' and, in the first seven notes of the melody, there's indeed a vague association to 'Light My Fire' -- it is vague.

'Astrud Gilberto Remembers Pearl Bailey' 'The Manhattan Transfer Tackles the Singers Unlimited' 'Della Reese Sings Blossom Dearie Favorites Leon Thomas Live at the Swiss Alps' Yodel Festival' 'The Jazz Soul of Linda Ronstadt'

But he makes a 'pit stop' in Muncie and his car is stolen -- there'll be lotsa LPs of Jazz at the Pawnshop (in Lower Muncie).

But when we do, we get hectored about "commercial viability", meaning the lack thereof.

Woah, I must have gotten one of the last ones out of the building. My order/shipping confirmation came through today at 11:53 PST. It will be here on Monday. You probably copped one of the very last. When you get it, could you post the #? (Anal minds are just DYING to know.)

After mulling, vacillating, and procrastinating thru February, I ordered it on Monday at 9:30 am. Hodges set # 5804 arrived yesterday and I haven't stopped playing it -- all y'all's props were spot on! Me and The Rabbit in late Jan., 1970: As a 14-year-old, I got to meet and shake hands after the Ellington orchestra played Providence College. Hodges was backstage and grinning broadly after the show (and smiling as such was rare for the Rabbit). I later figured out why -- before the gig, Paul Gonsalves had spent a couple hours with his Cape Verdean buddys near Providence and was plastered by the time he hit the stage. Ellington called him out for solo after solo "for his family and friends in the audience." Hodges couldn't contain his glee of Duke's ball-busting Gonsalves.

People who write WITHOUT thinking or listening will lead-in their copy with: "Poll winning...Grammy nominated...legendary...more than paid his dues."

When Teasing the Korean, a vexed response in upper case eventually emerges as a symptom.

If you've got pristine 78s of pre-war blues, black gospel or 50's r&b then you'll definately get attention. Otherwise, Chuck's right. The vast bulk of 78s, esp. country or pop crooners, fox trot and mambo orhestras are useless. Listing them individually will be a gigantic waste of time. If you provided us with maybe ten representative names and disc condition, there's expertise and free advise to facilitate your best move. Unusual record labels with music by black artists or groups would be interesting. Otherwise, I'm afraid they should be 'filed' in the dumpster.

The tight end might look more relaxed if the other guys promised to go easy.

Chico, Chico, Chico. (There's nothing like dancing chico-to-chico.)

I first got 'run over' on the 'Street of Dreams' in 1970 when my teacher, Bill McEneaney, played it during a meeting of our South Kingstown High School Jazz Club. Mack would play an LP track and then the 10 or 12 of us would talk about it, if we wanted to. The tune he chose was 'Lazy Afternoon' -- it slayed me then and still does. Mack's set-up went along the lines of,"I've got something that's gonna getcha from the inside-out -- especially the organ playing of Larry Young. This is the kind of group sound that just grows on ya." Mack was our 'chaperone' who often drove us up to Boston and got us into the Jazz Workshop to catch Getz, Mulligan, Roland Kirk, etc. (Pretty cool for high school.)

Otherwise known to millions by his stage name, 'Foghorn Leghorn'.

The nicotine 'hit' alone should disqualify Ahn-hell for frequently resorting to a drug-delivery system during the round. "Ah said,'That's a joke', son!"

Hey Rooster, forget your DJ stint. I just got a call from three women who want to charter a bus to Colorado. They had one request -- NO CD player or radio. ;-)

Or the morning-after CD, 'Jazz for After You've Slept On the Wet Spot'. (Perfect for all you swinging guys who must wipe off before brushing teeth.)

'Caramba'? Say, "Si, senor." The album is a straight-ahead BN groover -- better for drinking with than cogitating to. This probably got docked two stars compared to other Morgan LPs with blazing solos and better compositions. (Also, the CD has a weak bonus track). I actually get more Caramba 'juice' playing my vinyl.

In Georgia, radio noise is likely Clear Channel programmed, or Right-wing Talk Tyranny, or the trained parrots of NPR collegiate dilettantes. As I'm not into masochism, I never listen to radio.