Bill Nelson

When I'm in 'purge mode' in my record library, the saving grace for any Contemporary LP is 'sound by Roy DuNann'. As if it said, "Cool the impulse, bud. Give me a full listen and appreciate the superior quality of recording."

Mingus' return to Columbia in 1972 ('Let My Children hear Music') was a one-off affair. The Great Columbia Jazz Purge of '73 saw the sacking of MIngus, Ornette, Bill Evans, and Keith Jarrett ALL ON THE SAME DAY. Bruce Lundvall: "I shouldn't be telling you this because I don't want to disparage Clive (Davis). There was a moment when we (Columbia) had Ornette, Keith, Bill, and Mingus. They were all dropped in one day. How this happened I have no idea. Keith Jarrett phoned me, "You fucking jerks." I had nothing to do with the decision." from interview by Ted Panken, Jan. 9, 2009. (Our Ghost of Miles contributor explored this at length in his 'Nightlights' of 6/29/2015)

"ARR BILL BYERS" is visible on the LP front cover of 'QJ Explores the Music of Henry Mancini'. You can see it on the sheet music for 'Moon River', perched above a piano keyboard. (Forget looking on the CD -- it's blurred-out.) At least Q let Byers play on all the tracks -- probably for scale.

Sunday's last-minute Bengals win over the Ravens gave Marvin the chance to exit on a winning note. Too bad nobody took advantage of it.

For music DJs in the biz, the dates of birthdays, deaths, and anniversaries are always useful as 'pegs' or themes to fill time, i.e. provide content.

The Xmas tie-in is a deliberate marketing decision to ensure seasonal replays in perpetuity. In the same vein, studios finance movie projects which involve wacky, off-kilter weddings. The above themes play on warm fuzzy feelings which audiences will reach for with their wallets.

The 'New Music of Alec Wilder' (Riverside, 1956) made a second appearance in 1960 on Bill Grauer's Offbeat label. It was re-titled 'Tacet For Neurotics'. Grauer pulled a Richard Bock stunt by changing the cover entirely, though I can't say that he re-spliced any of the tracks.

Here's my 'go to' for Con Alma, with props to the always-tasty Grady Tate. https://www.youtube.com/watch?v=SJ4zkrF9nIs

I'm pleased with the clean and clear sound of the Audio Fidelity SACD/DSD. As for the Bainbridge CD (BCD-1044), it was likely the first available version on CD (maybe 1990) and it only has 8 tracks.

Re: Kevin's: "The earliest CD issues would seem to indicate that they didn't have the best tapes back then." This comment shouldn't apply to the 2003 CD 'Sonny Clark Trio' by Audio Fidelity (AFZ 2006). "Mastered from the original Bell Sound three-track session tapes and two-track master mixes at Kevin Gray's AcousTech Mastering." The SACD was compiled and remastered by Steve Hoffman. The first eight tracks are 'master takes', plus an additional five 'alternate takes'. (Interestingly, the recording dates given are January 2 and 6, 1959.)

And for those of us who weren't there, upon buying the record or CD, we can vicariously thrall in the audience response.

This thread got me to pull and play my 'All Night Session-1' and I enjoyed the listen. It isn't deserving of curses such as "workmanlike" or "serviceable", nor is it cocktail jazz just goin' through the motions. The album was engineered by Roy DuNann and recorded at Contemporary's L.A. studio, so the audio quality is there.

The Japanese SHM of 'Underground' (WPCR-29031) has been a pleasure -- all instruments are better defined, esp. the bass and drums. As I've been through several sealed vinyl copies, it's good to finally hear it in much better detail. Can't speak for the 'Atlantic Masters' but I've got the first CD issue which was mastered by Stephen Innocenzi -- with the effect of cloaking by a wet blanket. In all cases of this album, the usual muddy touch of original session engineer Tom Dowd keeps 'Underground' from achieving, by comparison, the startling brilliance of the SHM CD of Roland Kirk's 'Inflated Tear'. (Well worth the upgrade for any devotee of Rahsaan.)

"And you'll goddam get it right or the bus driver'll put you and your axe on the side of the highway."

My nine-day delivery of the Jordan Strata-East box: July 14, ordered late afternoon, media rate postage July 22, arrived in perfect condition Sorry boys, but I can't dogpile on the Mosaic Shipping Kvetch-athon.

I had the same reaction to Nelson set as J.A.W. I'd much rather play his early LPs on Impulse and Verve.

Back at their office, it was either "J.J. and Kai" or "This is Kai and J.J.", depending on who picked up the phone.

I was thrilled to read the Jordan-Strata East was available again and ordered mine yesterday. As Sangrey said, "This is a LOT more the type of set I appreciate Mosaic for." (The only Strata East vinyl I've been fortunate to score are 'Glass Beads' and Brackeen's 'Rhythm-X'.) That Malcolm Addey remastered this box set ensures this will be the best in physical media you'll ever hear. Also, I want to get this before the Last Chance Stampede when the curtain comes down.

In 1974, I phoned Joe Fields at Muse Records to get promos for my college radio station (WRIU-FM, Kingston, RI). Nice enough that he took my call and even better when he said, "I'll add you to our mailing list but you gotta promise me you won't take 'em home or sell 'em on the side." (Both conditions honored while I was there.)

Since the time of my post (above), roughly half of the 53 Mainstreams available from the Bards have sold out. (27 of 53)

The Dusty Bards just replenished their Japanese Mainstream stock. I got Harold Land - New Shade of Blue, Mike Longo - Matrix, and Charles Williams - Stickball.

Photo caption with a hit-40's song: "Don't Answer the Door, Richard!"

Exactly. Those five Elvin Blue Notes above are the ones on my shelf. 'Lighthouse' was workmanlike and never impressed.

Not to lay the 'jingo' vibe on Friedman, having posted (above) the book was about "significant U.S. singers". The book indeed has individual artist entries on Al Bowlly, Noel Coward, Marlene Dietrich, and Matt Monro (but no info on Monica Zetterlund or Rita Reys). Also, there's probably a few Canadian-born singers I didn't mention.

What Sangrey said. Friedwald's book is the most incisive and knowledgeable single tome about significant U.S. singers. With his sincere love and understanding of vocal traditions, you'll get sharp observations and analysis of what each singer brings or brought. No longer will you endure the standard artist bios riddled with clichés and hasty, sophomoric wrap-ups. If you want to go deep on any singer, Friedwald can bring it. Caveat: the book does not intend to serve as a complete encyclopedia or full catalog of LP and CD releases. As it stands, the 'Biographical Guide' takes-up 801 pages with no photos, index, or appendices. Friedwald asks the reader to 'suit up' and get serious, like him.