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February 27, 2009

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mrebks

Gil also arranged some stuff for Johnny Mathis about this time (just as Miles was sidemanning for Sarah Vaughan on Columbia). i lack the discog data, but in general the a&r guys may have still been locked in the standard three-four tunes per recording session, the old way of doing things which could easily lead to different players and even arrangers for different sessions as the label worked to accumulate enough tracks for the still-relatively-new world of 12" LPs. (this may all be too obvious. excuse the comment if so.)

Bill Crow

I knew Marcy.. met her around 1954 at the Hickory House. She used to come in quite often and we developed a little flirtation, but nothing came of it. She had some mental problems. She would tell me something in great detail, and then her eyes would swing off to the side, she would go out of focus for a minute, and then she would begin to tell me the same thing all over again, as if it were new material.
The last time I saw her was at the Half Note, around the late 1950s. I don't know what became of her.

Pierre-Emmanuel Seguin

The Lucy Reed album is great, I listen to it regularly, it's a shame she only did three records but at least these are all great records. Three of the tunes were arranged by George Russell, "In the wee small hours in the morning"; "Born to Blow the Blues" and "This is new". It is also the only album, I think, were George Russell is heard on drums.
There are some tunes on Helen Merrill's "The nearness of You" where a guitarist named George Russell is credited. I'd rather think that Barry Galbraith was playing the guitar, and George Russell did the arrangements. It is a wonderful album too.
Congratulations for this blog.

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  • Marc Myers writes on music and the arts for The Wall Street Journal. He is author of "Why Jazz Happened" (Univ. of California Press). Founded in 2007, JazzWax is a Jazz Journalists Association's "Blog of the Year" winner.
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