Saturday, July 26, 2014

Rare Strings

Mingus during his insurance salesman period. Actually, the Baron was recording for Fantasy at the time – the early 1960s – and the garb was most likely a hedge against San Francisco's famous fog. Photo by William Claxton

Well, gang, I'm pleased to announce that I have come across the Holy Grail of record collecting – at least, to me. Ironically, this Gem comes from eBay, a place where I rarely spend more than a buck for a record. But a very nice fellow was selling a couple hundred LPs for a nominal price, and buried within them was this EP from 1952 (the year of my birth). I just happened to notice it as I was killing time at work going through the cheapo listings on the auction site.


The last photo in the posting had the gold,
including "Stings and Keys." Lots of other nice
10-inchers, too.
Right there, in one of the photos of a his collection, plain as day, was Charles Mingus' first release on Debut, a record the bassist recorded in the early 1950s with pianist Spaulding Givens. They waxed it for another label but later released it on Mingus' own imprint. It's historic because it's the first independently-produced record by a jazz artist, and because it's rare Mingus. The initial pressing was probably only 500 EPs.

The seller seemed to know very little about jazz, and I was curious about the collection, because much of it was Mancini, Bert Keampfert, Les Brown and other easy-listening stuff. But mixed in were some pretty heavy and rare jazz recordings, mostly by bass players. There were also several bass instruction records. It seemed like an odd mix.

When I met up with the seller to make the buy, he told me the collection had been his grandfather's. He said the old gent had been a swing bass player and that he'd played in bands most of his life. He lived in the Corning, NY, area and worked most often with an big band called, curiously enough, the Mohicans. I found listings for them in old newspapers in my newspaper's morgue. Judging by the collection, the bassist started out playing bebop but later switched to the more conventional swing style, probably in an effort to make a little money. Not much call back in the 1950s for "Ooh Bop Sha'bam" in upstate New York, I'm guessing. He bought the easy-listening stuff so that he could practice the popular tunes that dancers wanted to hear.


Marian McPartland and the trio from a decade
or so before this recording was waxed. Joe
Morello on drums with Vinnie Burke on bass.
The other gem in this posting is a very rare EP from the late, lamented Marian McPartland. This one also comes from eBay and I don't know why nobody else bid on it. But I got it for 99 cents, and was very pleased that I did. It features Ms. McPartland actually playing some muscular stuff, unlike what she'd been recording for Capitol prior to this date. The strings are here, yes (including the ever-present Harry Lookofsky), but the arrangements by Frank Hunter are a cut above the usual treacle that backed Marian following her London House days. Phil Bodner is also present, playing flute quite nicely. The Sesac label was one that didn't last long, and this little disc features four of the twelve tunes that were recorded on this date back in 1964. There must have been an LP release, but I've never seen it.

So here's an extremely rare Mingus recording and another rarity that we offer as a tribute to Ms. McPartland. As always, these files were dubbed from the original vinyl. The Mingus tunes have a lot of hiss to them, but I suspect that's how they sounded when the record was new (the vinyl is visually pristine). The notation on the cover was made by the previous owner – and I left it there as a tribute to him. Dig!













Strings and Keys
Charles Mingus and Spaulding Givens 
Spaulding Givens, p; Charles Mingus, b.
New York, NY; April 1952; Debut DLP 1

1. What Is This Thing Called Love
2. Darn That Dream
3. Yesterdays
4. Body and Soul
5. Blue Moon
6. Blue Tide













It Swings
Marian McPartland 
Marian McPartland, p; Phil Bodner, fl; Harry lookofsy, Leo Kruczek, vi; Harold Coletta, viola; Alan Shulman, cello; Barry Galbraith, g; George Duvivier, b; Dave Bailey, d; Frank Hunter, arr.
New York, NY; June 1964; Sesac AD 92

1. The Magpie
2. Y'know What I Mean
3. Warmin' Up
4. Don't Panic

Find them here: https://www.mediafire.com/?h657ef6qvccn36l

Thursday, June 19, 2014

Darlin' Red

William Garland, photographed in action by producer Esmond Edwards, was better known as "Red." But his given name perhaps explains why Miles Davis had him do "Billy Boy" on "Milestones."

I've always had a thing for Red Garland. It was probably his touch that got me – and his incredibly melodic approach to chording. Nobody played like Red. And nobody accompanied like he did. It's what made him so perfect for Miles' band in the mid-'50s. And, a few years later, made him ideal as the pianist for most of John Coltrane's Prestige sides. 

Yeah, yeah, I know – Garland made many, many (too many!) trio recordings for Bob Weinstock, and after a while they all sounded the same. A couple of blues, two standards, maybe a jazzed-up folk melody. But, heck, I'll take a hackneyed Garland LP over a Brubeck side most days of the week (though Desmond kills). That's just me, a simp for the Texas approach to the 88s. 

Miles invades Red's personal space to share
a few chord suggestions. Paul Chambers
and Philly Joe in the background, a session
for Columbia.
Garland could play any tempo – fast, slow, in between. This posting offers Red fingering that quintessential slow drag tune, "Lil' Darlin'." A composition written (and arranged) by Neal Hefti and immortalized by Count Basie and his crew in 1958, "Darlin'" is the acid test for rhythm sections. Anybody who has ever tried to play this music we call jazz knows that playing fast is, well, if not a breeze, then at least a damn sight easier than playing slow. Slow tempi are tough to swing, and "Darlin'" is slower than slow. Which means it's nearly impossible not to drag it and kill the swing.

Brother Red takes it a bit faster here than the Kid from Redbank did, but it's a live recording so he gets a pass. What he does unquestionably do is rock the be-Jesus out of "Lil' Darlin'." In the liner notes to this LP, there is the statement that some "call Red a cocktail pianist," but nothing could be further from the truth. Smooth, uncluttered, melodic, yes – but superficial? Ridiculous. As I think you'll agree when you listen to OP's "Blues in the Closet" and the two standards included in this posting. 

So here's Red Garland at The Prelude in New York City, up in Harlem on 129th Street and Broadway. He's accompanied by Jimmy Rowser on bass and Specs Wright on drums. This is one of several LPs that were issued from this October 2, 1959, appearance, and for some reason Prestige chose to release it on their Status imprint. The music is delightful, and the files come as always from the original vinyl. Very little cleaning was required. Wonder if that's Mrs. Garland on the cover?














Lil' Darlin'
Red Garland

Red Garland, p; Jimmy Rowser, b; Specs Wright, d.
The Prelude, New York, NY; October 2, 1959; Status LP8314

1. Lil' Darlin'
2. We Kiss in a Shadow
3. Blues in the Closet
4 Like Someone in Love

Thursday, May 15, 2014

Enjoyment of Jazz

In December of 1949, a striking full-page ad appeared in Down Beat touting the latest effort by producer and label owner, Norman Granz. This time it wasn't about another of his JATP tours. Instead, it promoted a unique album that Granz had created called "The Jazz Scene." It was a premium item, costing all of $25 for 12 sides. The illustration is by David Stone Martin.

Predicting the future is never easy. Predicting the future of this music we call jazz is darn near impossible. How many times have we heard "the big bands are back"? Or that X (insert "Dixieland," "soul jazz," "psychedelic," "fusion," "hip-hop," etc.) is the next big thing? Remember the Fender Rhodes? Steinways were the keyboard of the past. Anthony Braxton was the next Charlie Parker one year, unemployed and scuffling only a few years later.

So your guess is as good as mine when it comes to jazz's destiny. Who could have predicted Wynton Marsalis? Not me.

Norman makes a point.
But back in the late 1940s, jazz's leading impresario took a stab at jazz prognostication. Norman Granz decided to issue an album that would feature some of the music's finest talents and would offer a glimpse not only of the contemporary scene but also of what lay ahead for jazz. To grab the public's attention, Granz planned to market this recording as a special collector's edition, limiting the total pressing and selling it at a premium price. The records would be packaged in an elegantly designed case, accompanied by detailed notes and beautifully executed photographs by Gjon Mili of the artists involved.

This milestone Granz christened "The Jazz Scene." 

Released in early 1950, "The Jazz Scene" went for a stiff 25 bucks and was capped at 5,000 copies, with the stipulation that "no copies will be available after the first edition is sold." It was received with accolades by the jazz press and got a special two-page review in the industry's unofficial pub, Down
Down Beat's 1950 review of
"The Jazz Scene."
Beat magazine. To increase the album's appeal, Norman numbered and signed each copy. Buyers were secure in the knowledge that the music contained within was authorized and approved by jazz's Sol Hurok.
The fans regarded the album as a must-have, though for many the price was prohibitive.

A portion of the music on the "Scene" was provided – no surprise – by members of Granz's stable of artists. Among them were Charlie Parker (recently signed), Lester Young, Bud Powell and Flip Phillips. Norman also recorded non-Mercury artists Willie Smith, Ralph Burns, Neal Hefti and George Handy. He seemed to have favored the arrangers on the album, hinting that at least some of jazz's future lay with writers rather than with improvisers. 


"The Jazz Scene" in its
original 78 rpm issue.
Of the compositions, George Handy's "The Bloos" stands out. It's at once anachronistic and startlingly original. It couldn't be written today, but it's unlike anything being written in 1949, too. Michael Levin called it a "satire" in his Down Beat review, and that seems about right. There are no solos, and it's the arrangement that gets top billing. Handy retired from music not long after this, claiming that the "music biz and all connected stinks."

Of the Parker contributions, "The Bird" is a piece based on "Topsy" (if I recall correctly) that runs almost five minutes – the longest performance Bird ever recorded in a studio setting. It's good, but not first rate Parker and kind of peters out at the end. According to Phil Schaap, Charlie was upstairs making "The Bird" when Neal Hefti was downstairs with the orchestra recording "Repetition" and "Rhumbacito." Parker stopped by on the way out of the studio and asked if he could sit in on the former tune. The result was Bird soloing over Hefti's arrangement during the latter half of "Repetition." A spontaneous collaboration and it works. 

Gjon Mili's photo of Harry
Carney at work.
The Ellington sides are really features for Harry Carney and an unnamed string section. Duke figures in only as the composer of the two tunes. My understanding is that Ellington did not like Granz and pretty much had nothing to do with him (until late in his career), so for Norman to credit these tunes as he does is a bit of false advertising. That said, Carney sounds great, and it's nice to hear Billy Strayhorn tickle the ivories.

The true gem on the album is Coleman Hawkins' stellar "Picasso." According to the notes, the Hawk spent many hours formulating this free-form, solo saxophone masterpiece, and it shows. Hawkins did two or three other solo improvisations after this first effort, but "Picasso" stands out as a remarkable document by jazz's elder statesman of the tenor sax. If you've never heard it before, you're in for a treat.


The album was originally released on 78 rpm discs with a Mercury/Clef imprint. Despite Granz's pledge, the recordings were eventually issued again (and again), first on various LPs and more recently on CD. These dubs were taken from an American Recording Society release. The ARS was a record club of the variety popular back in the '50s, and it had a special deal with Granz to reissue Clef and Verve releases for its members. Each ARS record came with detailed liner notes – something the originals often lacked.




The liner notes for the ARS release of "The Jazz Scene."

The sound quality of this album is very good considering its age. We've cleaned things up here and there, and you may notice the occasional click, but mostly these files are broadcast quality. As always, they were taken from the original vinyl.

The Jazz Scene
Various Artists
Mercury/Clef
New York, NY; Various dates, 1949

1. Repetition 
Neal Hefti Orchestra featuring Charlie Parker

2. I Want to Be Happy
Lester Young with Nat Cole, Buddy Rich

3. Tanga
Machito with Flip Phillips

4. Introspection
Ralph Burns Orchestra with Bill Harris, Herbie Steward

5. Sophisticated Lady
Willie Smith with Dodo Marmarosa, Red Callendar, Jo Jones

6. Frustration
Harry Carney with Billy Strayhorn, Oscar Pettiford and strings

7. The Bloos
George Handy

8. All God's Chillun Got Rhythm
Bud Powell with Ray Brown, Max Roach

9. Sono
Harry Carney with Billy Strayhorn, Oscar Pettiford and strings

10. The Bird
Charlie Parker with Hank Jones, Ray Brown, Shelly Mann

11. Rhumbacito
Neal Hefti Orchestra

12.Picasso
Coleman Hawkins

Wednesday, April 9, 2014

Eight from the 88s

Meade Lux Lewis was the eldest of the boogie woogie triumvirate and, according to some, the best known of the three as a progenitor of that classic style. Photo from the Illustrated Encyclopedia of Jazz & Blues

Here's a post with no special story to go along with it. I just thought you might like to have these obscure discs. They come from the cleaning woman stash that I've mentioned in several other posts. I picked up a lot of interesting sides in that haul, and these probably won't be the last of them to appear here.

These two gents, along with Albert Ammons, were the pianists most associated with that two-fisted piano romp on the American song form known as boogie woogie. Pete Johnson is most often thought of as a product of the Kansas City jazz era, and so he was, but he also made a name for himself by beating it out in tandem with Ammons or Lewis (and sometimes both). Meade Lux Lewis may have been the first to record in the boogie style, waxing his "Honky Tonk Train Blues" way back in 1929 (he recreates it here, too).


Pete Johnson, left, and Albert Ammons in
the 
studios of KCKN in Kansas City in the '40s.
These Pete Johnson tunes were originally recorded for National and then were reissued on this little EP for Rendition. In the '50s they came out again on Savoy and are probably available on a number of contemporary CDs, but I couldn't resist posting them anyway. The presence of Ben Webster on one cut and Lips Page on two is an added treat. Including the New Orleans sound of Albert Nicholas makes for a rare pairing, and Higgy literally wails on his number.

Lewis's four tunes for Atlantic, done in 1951, are exactly what you'd expect – bumpda-bumpda in the bass and a fistful of eighth notes in the right hand. To my ear, there's more than a little hint of rock 'n' roll here. He pays tribute to three of the greats – Pinetop Smith, Cow Cow Davenport and Jimmy Yancey – and then fetes himself with his own composition. He's subtly accompanied by a bassist and drummer who, to this date, remain anonymous.

So here's a half-hour of good blues for when you're in a toe-tapping mood. The Lewis disc looks pristine but was plagued with surface noise. Much of it has been removed, but some still remains so be forewarned. The Johnson tunes are all sonically clean. As always, these files were created right from the vinyl originals. Beat me, daddy, eight to the bar!



At the Piano
Meade Lux Lewis 
Meade Lux Lewis, p; unk. b, d.
Chicago, IL; Dec. 4, 1951
Atlantic EP 510

1. Pinetop’s Boogie Woogie
2. Cow-Cow Blues
3. Yancey Special
4. Honky Tonk Train Blues














On the “88”
Pete Johnson
Pete Johnson, p; Hot Lips Page, tp; 
Ben Webster, ts; Albert Nicholas, cl; 
J.C. Higginbotham, tbn; Jimmy Shirley, g; Al Hall, b; J.C. Heard, d.
New York, NY; January 26, 31, 1946
Rendition EP 45-115

5. Mr. Clarinet Knocks Twice
6. Ben Rides Out
7. Page Mr. Trumpet
8. J.C. from K.C.

Find them here: http://rapidshare.com/share/299ADA742CDC0905C8B280A0B737B58C

Wednesday, March 5, 2014

Fats and Fat Value

Fat Girl and his co-leader Tadd Dameron waxing a session for Blue Note in 1947. They're joined by reedmen Charlie Rouse and Ernie Henry. William Gottlieb photo

What is this music that we love worth? On a personal level, of course, it's priceless. Who can set a value on those recordings that opened our ears, expanded our minds, that thrilled us and touched our hearts? It's easy to get maudlin about it, but those highly individual experiences are the moments that inform the arc of a lifetime. To talk of monetary worth is to miss the point.

But now that that's out of the way, let's get down to brass tacks (whatever that means). The reason we post jazz recordings here on Gems is because much of that material is rare and (for that reason) desirable. Hence it has value. Just a few clicks away from this page is a gargantuan auction site where just about any recording in any format is available at any time night and day – for a price. Sometimes that price is modest, but many times the selling figure for a particular album is, well, astonishing. I can't help but wonder, how are these values determined?


A couple of gems – as far as collectors are
concerned. Musically, I'm not so sure.
Case in point: When I lived in Boston back in the '70s, I haunted used recorded shops eight days a week. Every now and then a deep-groove Blue Note would turn up, or a first-issue Riverside, or maybe even a 10-inch gem on Prestige would (rarely) appear. I'd buy those if I could afford them, but I'd also buy just about anything that looked interesting. I was particularly into the avant garde and I picked up loads of self-produced free-jazz LPs by unknown players. A couple of records of that sort that I came across had homemade covers and were by two gents named Michael Cosmic and Phill Musra. I'd never heard of them, but the records were 99 cents each, so I snapped them up. I don't even think I ever listened to them.

Forty years later I discovered a website that lists the selling price of records auctioned on that big site on the Internet. Maybe you know it? It's called CollectorsFrenzy. They had a listing for both of the Cosmic/Musra albums I bought those many years ago, and it blew my mind. Together these two records sold recently for a whopping $2,220.75! 

So what is this music worth? 

Clearly, in the case of Cosmic and Musra, nowhere near that much. At least, in terms of the music itself. Their sort of stuff these days is termed "spiritual jazz" and is deemed highly collectible. But musically speaking? Nah, no great shakes. 

Which leads me to offer some music that I know is of real value. Maybe not in terms of its "collectibility," but in terms of its artistry. It's also a self-produced effort, another of Boris Rose's offerings. But there's no question about the quality of the music – it's first rate.

These tunes were recorded during several successive broadcasts from the Royal Roost in 1948. They feature the Tadd Dameron/Fats Navarro sextet with special guest Anita O'Day, and the performances are without exception superb. You probably know the airchecks by this band that were released on Riverside back in the '60s. This recording only repeats one of those tunes (or maybe "The Squirrel" is a different take). 


Eager in solo flight, captured by Bill Gottlieb.
Fats is in tip-top shape, rivaling Dizzy for pyrotechnics. Rudy Williams, a former swingtime member of the Savoy Sultans, is a bit out of his element but manages to get over. Tadd comps along competently, but it's Allen Eager who is the stand-out. His tenor navigates the solo terrain deftly and repeatedly impresses. And to think this guy quit jazz to become a ski-instructor!

Anita O'Day sounds relaxed and in command. You can hear how carefully she's structured her act by the repeated "spontaneity" of the "I ain't mad at you" interjection in "How High the Moon." The pianist is listed as Dameron but the guy takes solos that are beyond Tadd's ability, at least to my ears. So maybe someone else is at the keyboard when Ms. O'Day steps up to the mic.

There's a full 60 minutes of music in this download, so give it some time to fully load. The tunes are clipped at the end in classic Boris Rose fashion, so don't blame me for that. But – at least in musical terms – you'll get some real value for your efforts.

As always, these files were dubbed from the original vinyl. The sound isn't perfect (it wasn't when the record was new), but I've cleaned it a bit and I think you'll approve. 












Fats’ Gang!
Fats Navarro/Tadd Dameron/Anita O’Day 
Talcrip TDFN 10230

Fats Navarro, tp; Rudy Williams, as; 
Allen Eager, ts; Tadd Dameron, p; Curley Russell, b; Kenny Clarke, d.
Royal Roost, New York, NY; October 2, 1948
1. Good Bait

Anita O’Day, v; Tadd Dameron, p; Curley Russell, b; Kenny Clarke, d.
Royal Roost, New York, NY; October 2, 1948
2. What Is This Thing Called Love?
3. How High the Moon

Personnel as 1.
Aircheck, New York, NY; October 9, 1948
4. The Squirrel
5. The Tadd Walk

Personnel as 2.
Royal Roost, New York, NY; October 9, 1948
6. September in the Rain
7. How High the Moon

Personnel as 1.
Royal Roost, New York, NY; October 9, 1948
8. Dameronia
9. Good Bait

Personnel as 1; add Kai Winding.
Royal Roost, New York, NY; October 23, 1948
10. Eb-pob
11. The Squirrel

Personnel as 10; omit Navarro, Williams.
Royal Roost, New York, NY; October 30, 1948
12. The Chase
13. Wahoo
14. Lady be Good

Find it here: http://www.mediafire.com/download/vv29kng7bgmkymx/Fats_Navarro.rar

Sunday, February 9, 2014

Big T and the Pirates

A serious and youthful Jack Teagarden posing for the photographer in the late 1920s, a time when all jazz players naturally dressed in formal attire. From "Jazz: A Photo History"

A few months ago my son, who has just graduated from college and is camping out at home trying to decide what next to do with his life, suggested we take a day trip over to New Paltz, NY. He'd been there several times before and he said the town had a couple of really good used record stores. "Record stores?" said I, doubtful. "Yeah," said he. "Just like the ones you're always telling me about." This I had to see, so off we went one Saturday to check out the vinyl in this college town near the Shawangunk Mountains.

Jack's Rhythms Records in New Paltz, shown in
funky Google Street View image.
New Paltz is only an hour away from where I live in the Catskills, so we left in the late morning and had lunch at a Thai restaurant on Main Street. Then we strolled over to Jack's Rhythms at 54 Main Street. We walked in and there we were in a record store just like the ones I remember: bins of LPs arranged alphabetically by genre, music posters on the walls and a bespectacled geek behind the counter playing some esoteric rarity over the house stereo system. Most of the records were covered by polyethylene sleeves (these were used records, remember) and most were priced between $8 and $12. There were jazz LPs as well as rock, folk, blues and world recordings. Jack's also had CDs and a healthy selection of music books, but I went to work pawing through the jazz record bins. 

Bins! Just like in the old days.
There were the usual Blue Notes, Impulses and Riversides at reasonable collector prices, but I already have most of those. I was looking for the mistakes that even knowledgeable record dealers make – the Ira Sullivan album filed in the bargain bin, the Claude Thornhill LP stuck in the cheapo Easy Listening section, things like that. Jack's appeared to be more aware than most of the record stores from my past (thanks no doubt to the Internet), but eventually I came across a few boxes in the back that were mark "$1 each." Pay dirt!

I looked through boxes and came up with a number of interesting sides, most in acceptable shape. One I was very pleased to find, even for a collector's price. It was a Jack Teagarden from his early days as a leader on an obscure label – and a 10-incher. The label was Jolly Roger, one of the very first jazz bootleg outfits. 

Started by jazz fan Dante Bollettino in 1950, Jolly Roger featured reissues of unavailable classic jazz and blues sides in the then-modern 10-inch microgroove format. Artists like Benny Goodman, Bessie Smith, Jelly Roll Morton and Sidney Bechet had their music "pirated" by Jolly Roger (get it?). Bollettino even contracted with RCA Victor's pressing plant to produce his sides. It wasn't until Louis Armstrong and Columbia successfully sued Jolly Roger that production ceased and the company was put out of business. But hundreds of sides had been sold and a precedent had been set. Boris Rose would carry on the tradition of pirating in grand style a decade later (see our previous post) .

A sampling of some of the releases on Jolly Roger. Burt Goldblatt, who drew many
of the label's covers, did the Goodman and the Armstrong/Bechet jackets here.
He also did the cover for the Teagarden LP that is this posting's download.

Jack in the early '50s as a member
Louis Armstrong's All-Stars.
So here we have a Jack Teagarden on Jolly Roger. The recording showcases early Brunswick sides that Tea did with a variety of large groups that feature some notable sidemen – Benny Goodman and Jimmy Dorsey the most prominent among them. Jack was working with Paul Whiteman's orchestra at the time, but he had made a name for himself as a vocalist as well as a fine trombone soloist with Ben Pollack's band and he was occasionally contracted to do pop tunes for labels Columbia and Brunswick. These numbers all include Jack's distinctive laid-back vocalizing, undistinguished arrangements and some very fine (if brief) solos. The performances are, without exception, all excellent examples of the trombonist's approach to jazz. I'm not sure they're currently available, but in the early '50s they were certainly rarities. 

So our sojourn to New Paltz was indeed a productive one. As one of the earliest examples of a fan making music available to the greater public after it had been abandoned by its parent company, this LP is a marvelous historical artifact. It's fitting that it should be offered here on Gems because – whaddya know? – we're doing much the same thing. And for a buck, I couldn't pass it up.

The selections were dubbed from the original vinyl as always, with just a little bit of cleaning. The sound is excellent, given the recording's vintage. Note that only the front of the LP is shown because the back is blank (as it is on most Jolly Rogers.)












Jack Teagarden
Jack Teagarden and His Orchestra 
Jolly Roger 5026

Jack Teagarden, tbn, v on all selections.

Orchestra with Jimmy Dorsey, cl; Joe Venuti, vi; Nappy Lamare, v; others.
New York, NY; March 2, 1934
1. Fare-Thee-Well to Harlem
2. Ol’ Pappy

Orchestra with Charlie Teagarden, tp; Benny Goodman, cl; 
Frankie Trumbauer, c-mel; others.
New York, NY; Sept. 18, 1934
3. Stars Fell on Alabama
4. Your Guess Is as Good as Mine

Orchestra as 1, 2.
New York, NY; Nov. 11, 1933
5. I Just Couldn’t Take It Baby
6. Love Me
7. A Hundred Years from Today
8. Blue River

Find it here: http://rapidshare.com/share/C5FC93066FEF06899ACB48B019A83E8F

Thursday, January 16, 2014

Not so RapidShare

Well, sports fans, our pals at RapidShare are again behaving in mysterious ways. Their server has been off-line repeatedly in the last few days, resulting in error messages whenever users try to access files. Which means, of course, that many of the downloads offered here are out of commission for the time being. We at Gems hope this is only a temporary state of affairs, but with these semi-legal file-sharing sites one never knows. I suppose those who avail themselves of free services (as we do at Gems) have no real cause to complain, but RS also has many paying customers who have been stiffed as well. We'll let you know when RS is again up and running, but in the meantime you check for yourself at this site: http://www.isitdownrightnow.com/rapidshare.com.html

Update: RS seems to be back up and running. Get those downloads while you can!