Bobby Cowell

Bobby Cowell

Robert (Bobby) Cowell was born in Trindon Grange on 5th December, 1922. He worked as a coalminer at Blackhall Colliery before joining Newcastle United in October 1943.

Cowell played 81 games for the club at right-back during the Second World War but he did not make his Football League debut until playing against Barnsley on 1st February 1947. He played in 13 games that season. The team that year included Joe Harvey, Len Shackleton, Tommy Walker, Jackie Milburn, Ernie Taylor, Frank Brennan and Charlie Wayman.

In the 1947-48 season Newcastle United won promotion to the First Division. That year he played in 19 league games but the following season he established himself as the club's regular right-back.

Stan Seymour returned as manager in December 1950. Newcastle United finished 4th in the 1950-51 season. Once again Jackie Milburn was top scorer with 17 goals in 31 league games. The club also enjoyed a good FA Cup run beating Bolton Wanderers (3-2), Stoke City (4-2), Bristol Rovers (3-1) and Wolverhampton Wanderers (2-1) to reach the final against Blackpool.

The defences were in control in the first-half. The deadlock was broken in the 50th minute when Jackie Milburn collected a pass from George Robledo to fire home. Five minutes later, Ernie Taylor cleverly back-heeled the ball and Milburn scored with a powerful shot from 25 yards. Cowell had won his first FA Cup winners' medal.

Newcastle United had another good FA Cup run in the 1951-52 season, beating Aston Villa (4-2), Tottenham Hotspur (3-0), Swansea City (1-0), Portsmouth (4-2), Blackburn Rovers (2-1) to reach the final against Arsenal. The London club had finished 3rd in the First Division championship whereas Newcastle managed only 8th place, their lowest position since promotion in 1948.

In the 19th minute Wally Barnes was injured in a tackle with Jackie Milburn. He tried to carry on but he was forced to leave the field in the 35 minute. Arsenal's ten men fought magnificently against the marauding Newcastle forwards. They held out until the 85th minute when George Robledo headed in a Milburn cross. Newcastle had become the first team to retain the FA Cup since Blackburn Rovers in 1891.

According to Jackie Milburn, Cowell "was the best uncapped full-back I've known". Paul Joannou points out in The Black 'n' White Alphabet: "Cowell was a solid defender, brave and tremendously quick to make up lost ground."

Newcastle also had a good FA Cup run in the 1954-55 season, Plymouth Argyle (1-0), Brentford (3-2), Nottingham Forest (2-1), Huddersfield Town (2-0), York City (2-0) to reach the final against Manchester City. Newcastle's star player, Jackie Milburn, later recalled how the game started: "I won a corner on the right and Len White ran over to take it. Manchester City's captain, Roy Paul, was standing next to me as Len placed the ball, but he suddenly yelled, 'Bloody hell, I should be marking Keeble,' so off he darted to find big Vic, who was more widely noted for his prowess in the air. Len fired the ball in my direction and there was I standing all alone like Grey's Monument. I headed the ball past their keeper, Bert Trautmann and that was it."

The situation got worse for City when Jimmy Meadows suffered a serious knee injury in the 18th minute. Just as in 1952 Newcastle had just ten men to beat. Despite this disadvantage City equalized when Bobby Johnstone beat Ronnie Simpson with a diving header after good work from Joe Hayes.

In the second-half Newcastle United made their numerical advantage count. According to Jackie Milburn, the Newcastle captain, Jimmy Scouler, was the best player on the pitch: "Scoular kept spraying great crossfield balls to Bobby Mitchell and between them they tore City apart." Charlie Buchan later commented: "I have never previously seen a wing-half display as good as that of Scoular's in any big game."

In the 53rd minute Bobby Mitchell made a run down the wing before scoring from an acute angle. Soon afterwards George Hannah scored from a pass from Mitchell. Newcastle United had won the FA Cup for the third time in five years and Cowell had won three cup winners' medals.

Cowell was badly injured during a friendly in Germany during a summer tour in 1955. Although only 33 years-old Cowell was forced to retire from the game. He had played 327 games for the club.

Bobby Cowell died in Newcastle upon Tyne on 11th January 1996.


Rose Byrne

Mary Rose Byrne [1] [2] (born 24 July 1979 [3] ) is an Australian actress. She made her screen debut in the film Dallas Doll (1994), [4] and continued to act in Australian film and television throughout the 1990s. She obtained her first leading film role in The Goddess of 1967 (2000), which brought her the Volpi Cup for Best Actress, [5] and made the transition to Hollywood in the small role of Dormé in Star Wars: Episode II – Attack of the Clones (2002), followed by larger parts in Troy (2004), 28 Weeks Later (2007), and Knowing (2009). Byrne appeared as Ellen Parsons in all 59 episodes of the legal thriller series Damages (2007–2012), which earned her two Golden Globe Awards nominations and two Primetime Emmy Award nominations. Get Him to the Greek (2010) and Bridesmaids (2011) established her as a comedic actress, in addition to the dramas and thrillers she continues to appear in.


1. Bio

Simon Cowell, best known for being a Entrepreneur, was born in Brighton, East Sussex, England, UK on Wednesday, October 7, 1959. Television producer, executive, and celebrity judge who appeared on American Idol and The X Factor and produced America’s Got Talent.

Family: He broke off his engagement to Mezhgan Hussainy in 2012. He had a son named Eric with Lauren Silverman on February 14, 2014. Simon Cowell father’s name is Eric Philip Cowell and mother Julie Cowell. We will continue to update details on Simon Cowell’s family.

Education: The education details are not available at this time. Please check back soon for updates.

Dating: According to CelebsCouples, Simon Cowell is single .

Net Worth: Online estimates of Simon Cowell’s net worth vary. It’s easy to predict his income, but it’s much harder to know how much he has spent over the years. CelebsMoney and NetWorthStatus does a good job of breaking most of it down.


Rose Byrne Australian Actress

Rose Byrne has been in relationships with Brendan Cowell (2003 - 2010) and Gregor Jordan (1999 - 2002) .

About

Rose Byrne is a 41 year old Australian Actress. Born Mary Rose Byrne on 24th July, 1979 in Balmain, Sydney, Australia, she is famous for The Goddess of 1967, Bridesmaids, Damages, X-Men: First Class, Bad Neighbours, Bad Neighbours 2: Soroity Rising in a career that spans 1994'“present. Her zodiac sign is Leo.

Rose Byrne has been in 11 on-screen matchups, including Brad Pitt in Troy (2004) , Halston Sage in Neighbors (2014) , James McAvoy in X-Men: First Class (2011) , Josh Hartnett in Wicker Park (2004) and Marc Blucas in I Capture the Castle (2003) .

Contribute

Help us build our profile of Rose Byrne! Login to add information, pictures and relationships, join in discussions and get credit for your contributions.

Relationship Statistics

TypeTotalLongestAverageShortest
Dating3 8 years, 10 months 6 years, 3 months 3 years
Total3 8 years, 10 months 6 years, 3 months 3 years

Details

First Name Rose
Middle Name Mary
Last Name Byrne
Full Name at Birth Mary Rose Byrne
Alternative Name Chabs, Rosie, Rose Byrne, Rose Mary Byrne
Age 41 years
Birthday 24th July, 1979
Birthplace Balmain, Sydney, Australia
Height 5' 6¼" (168 cm)
Weight 117lbs (53 kg)
Build Slim
Eye Color Brown - Dark
Hair Color Dyed Blonde
Zodiac Sign Leo
Sexuality Straight
Religion Agnostic
Ethnicity White
Nationality Australian
High School Hunters Hill High School, Hunters Hill, Australia
University Bradfield College, Crows Nest, Australia, University of Sydney, Australia
Occupation Text Actress
Occupation Actress
Claim to Fame The Goddess of 1967, Bridesmaids, Damages, X-Men: First Class, Bad Neighbours, Bad Neighbours 2: Soroity Rising
Year(s) Active 1994–present, 1994'“present
Talent Agency (e.g. Modelling) Elite Model Management - London
Brand Endorsement Max Factor, Oroton
Bust (inches) 32
Cup Size B
Waist (inches) 23
Hips (inches) 33
Clothes Size 2
Shoe Size 8 (US), 40 (EU), 6.5 (UK), 250 (J)
Official Websites rosebyrne.org/, rose-byrne.com/, www.elitemodellondon.co.uk/details.aspx?modelID=678938&ln=&nav=3&subid=12133&mainsubid=12133&divID=&indx=0&letter=
Father Robin Byrne
Mother Jane Byrne
Brother George Byrne
Sister Alice Byrne, Lucy Byrne
Friend Abbie Cornish, Nadia Townsend
Favorite People Kate Moss (Fashion Idol)
Favorite Foods Cheese

Mary Rose Byrne (born 24 July 1979) is an Australian actress. She made her screen debut in the film Dallas Doll (1994), and continued to act in Australian film and television throughout the 1990s. She obtained her first leading film role in The Goddess of 1967 (2000), which brought her the Volpi Cup for Best Actress, and made the transition to Hollywood in the small role of Dormé in Star Wars: Episode II – Attack of the Clones (2002), followed by larger parts in Troy (2004), 28 Weeks Later (2007), and Knowing (2009).


Strata-East Records: An Oral History

When Charles Tolliver and the late Stanley Cowell co-founded Strata-East in 1971, their only goal was to put out their own work. Before long, though, they found themselves in charge of one of the era’s leading jazz labels—and a lasting symbol of artistic independence.

Charles Tolliver, New York, 1974 (photo: Raymond Ross Archives/CTSIMAGES)

The rock world takes a lot of credit for what’s known as the “indie ethos,” or “DIY.” Circumventing the corporate music industry with small labels and self-pressed and -promoted records is often thought of as a postpunk-era notion, exemplified by the English label Factory Records’ proud credo: “The musicians own all the music and we own nothing!”

Yet that ethos wasn’t new. As with so many other things, Black American music—and jazz in particular—had gotten there first. In 1971, Charles Tolliver and Stanley Cowell founded Strata-East Records in New York. The label operated on the principle that the artists owned all of their output, with Strata-East taking only a small commission to keep the lights on (if that).

It was only active for a decade. But today, 50 years after the fact, Strata-East is lionized. Part of that has to do with the remarkably high quality (and relative rarity) of its catalogue. However, its pioneering approach to artist self-determination is perhaps even more celebrated.

This oral history is based primarily on interviews with Tolliver and Cowell the latter gave this writer his final interview just weeks before he passed away last December. Sylvia, his wife, also provides some insights, as do several of the artists who worked with Strata-East. All quotes have been edited for space and clarity.

CHARLES TOLLIVER, trumpeter: Stanley [Cowell] and I met in the summer of 1967. We both had been called on by Max Roach he was starting a new quintet, and all the band members would meet at his house to rehearse and talk. We met at that first rehearsal. We were 25 at that time, and we hit it off right away.

STANLEY COWELL, pianist: Summer ’67 to summer ’68, that was the year I worked with Max. Then in the winter of ’68 to ’69 I went on tour with Miles, and then Stan Getz and the Bobby Hutcherson-Harold Land group. But Max still called for special things at that time, special projects with some of his larger works.

Then of course Charles and I worked together in Music Inc. it was a co-op, but he was the one who started that band. We went to Europe in the summer of 1969, and while we were in London both of us made records under our own names [Tolliver’s The Ringer Cowell’s leadership debut Blues for the Viet Cong].

By 1970, the idea had been in Charles’ mind for some time to produce a big-band record, and so I was part of helping to produce the first big-band record [Music Inc., recorded in November 1970].

TOLLIVER: The recording sat for a while and then I shopped it around. And you know, [Riverside’s Orrin] Keepnews and all the others, they said, “Well, man, big band.” Well, Thad Jones and them were doing it! But Stanley and I weren’t known as big-band leaders or anything like that, so I never got a yes.

I decided I would read up on how you really put out a recording, like the big guys. I checked with Max Roach [who had co-owned Debut Records with Charles Mingus from 1952-57], and he showed me how they’d done the covers. I talked to this lady who was at that time a label person for Epic she gave me basically mom-and-pops that the majors use, and also their bigger distributors. And I figured out who was doing the mastering. There was one other important item, and that is the paper. The jackets. Come to find out, that’s the whole ballgame.

So I said, “Stan, we might as well do the whole thing, you know?”

COWELL: I had gone to the University of Michigan in Ann Arbor, and there was a group of Detroit musicians I played with around the Artists Workshop there. Kenny Cox, a pianist, and Charles Moore, a trumpet player, were part of it.

Around 1970 or so, they came to me. They had founded Strata Corporation in Detroit, and they had a concert space, and they were going to produce records. They were all part of this spreading entrepreneurial movement: Musicians should have self-determination in terms of what they put out, not always be beholden to some other people who don’t look like us and probably are ripping us off.

But it moved from a racial-based idea to an entrepreneurial idea. And they wanted us to start a company and affiliate with Strata Corporation. We started the company, but Charles thought we needed a little more autonomy, and so he incorporated it separately as Strata-East Records Incorporated. Connected, but independent.

TOLLIVER: Kenny and Charles, they had this square logo, with stripes getting smaller down to the end. And I didn’t like that it looked too much like a flag. I just rounded it into a disc and put “Strata-East” at the bottom, and that became our logo. I trademarked it, and I said, “Okay, now we’re ready to go.” Originally Published May 24, 2021


Gallery

    When Horace Silver left us, for posterity, LJC posted a series of his main Blue Note albums. It is a couple of weeks overdue now to give Bobby Hutcherson the same respect, so over forthcoming posts, some of those titles not previously covered will be given a closer look. Bobby recorded prolifically so it won’t be everything, nor does it need to be.

So, a tribute to Bobby Hutcherson, starting with the NYT official obit’ (they come out so promptly you have to figure they have a whole drawer-full of artists, marked “pending”)

LJC Tribute

Bobby Hutcherson, one of the most advanced exponents of the jazz vibraphone, died August 15, 2016, at the age of 75. Jazz critic Bob Blumenthal said of Hutcherson: Bobby “would probably be more widely recognised as one of the 󈨀s finest musicians if he hadn’t played the vibes“.

The vibraphone – vibraharp, or just plain vibes – is one of a family of instruments classified as a “struck idiophone”. (I challenge anyone to find a better description of being surrounded on mass-transit by people engrossed in their hand-held devices)

Lionel Hampton, Milt Jackson, and Bobby Hutcherson are arguably the most distinctive voices of this family of instruments. Not to forget Red Norvo, Gary Burton, Roy Ayres, Cal Tjader, Walt Dickerson and many others of note, but the sheer versatility and adaptability of Hutcherson ensured he remained the vibes-man of choice over many decades.

The vibraphone is a hybrid keyboard-percussion instrument, with some of the qualities of both. The use of multiple mallets, two in each hand, enable chords in addition to linear patterns. This permits the vibist an unusual opportunity to shape his contribution to the jazz ensemble. At the percussion end, it offers percussive rhythmic metre, complex polyrhythms or free counterpoint. The cool ringing tremolo/vibrato of metal offers dense sustained tonal colourings and textures. At the melody end it holds a fine lyrical solo, or harmonies against other instruments. Hutcherson mastered all these opportunities in a way which enabled him to blend seamlessly with the demands of many styles, artists and moods.

He was introduced to the Blue Note roster of artists in the mid 󈨀s, recording three outstanding titles as leader. For me, Dialogue (Idle While) is peerless, however his contribution to other artists titles was no less enthralling. Try to imagine Dolphy’s Out to Lunch, McLean’s One Step Beyond, or Grant Green’s Idle Moments without Bobby Hutcherson. His was a core contribution to those momentous ground-breaking recordings.

His choice in artist pairings was also a key strength, given his pendulum career between east and west coast. For tenor, on the East coast, collaboration with Joe Henderson, and on the west, a long-term collaboration with Harold Land. Given the similar musical territory occupied by piano and vibraphone, his keyboard collaborations were all the more audacious, with Andrew Hill, McCoy Tyner, Herbie Hancock and Stanley Cowell and new kid on the keyboard, Chick Corea on the west. Joe Chambers was frequently behind the drum kit, point man on the avant-leaning works, a drummer who knows what to play when others didn’t, while Billy Higgins adds delicious propulsion more than just timekeeping.

Into the Liberty years, and beyond into the United Artists years, amidst Blue Note’s sea of reissues, Hutcherson was one of the few artists providing the label with new titles. What followed was a changing roster of artists, electrification of piano and bass, venturing into avant-leaning post-bop, modal, latin, atmospheric soundscapes, and a soupcon of funky swing.

Album covers showed Hutcherson’s grin disappearing progressively under a funky woolly hat, beard, and shades.

Liner notes were deemed redundant: the hat now spoke for itself, though quite what the hat had to say remains unclear, something about the music perhaps, not at all funky, something altogether more cerebral. Methinks perhaps the hat miss-spoke.

My shelf includes both Liberty and United Artists Blue Note Hutcherson titles. Many are Van Gelder recorded, some are Van Gelder mastered, some should be Van Gelder mastered but are not, typical of the promiscuous manufacturing practices of these years. Hutcherson’s talents were not always well-served in manufacture, a fact of life for the vinyl collector, but not a financial hardship.

Through the 󈨔s and 90’s Hutcherson went on to record a considerable body of work for Landmark and other labels, was awarded national recognition with NEA Jazz Master Fellowship, and toured with his own quartet. His major work had however already been largely accomplished, as a crucial part of the vanguard of new jazz developments in the 60’s and 󈨊s. That, indeed, is enough contribution from any one. The rest is a bonus.

Selective DiscographyThe Blue Note Years

The Blue Notes, as leader, full posts here:

4198 Dialogue (1965):


https://londonjazzcollector.wordpress.com/2014/10/12/bobby-hutcherson-dialogue-1965-liberty-ua-blue-note/

4213 Components(1965):


https://londonjazzcollector.wordpress.com/2015/08/25/bobby-hutcherson-components-1965-blue-note-liberty/

4231 Happenings (1966):


https://londonjazzcollector.wordpress.com/2014/10/25/bobby-hutcherson-happenings-1966-liberty-blue-note/

Bobby Hutcherson: The Liberty Years and beyond

We pick up Hutcherson’s discography on the cusp of the sale of Blue Note to Liberty Records Inc., with 4244 Stick Up, first released by Liberty.

Selection: Verse (Hutcherson)

Joe Henderson (tenor sax) Bobby Hutcherson (vibes) McCoy Tyner (piano) Herbie Lewis (bass) Billy Higgins (drums) recorded Rudy Van Gelder Studio, Englewood Cliffs, NJ, July 14, 1966

The selection Verse is the veritable son of Idle Moments, and compliments don’t come any higher from me. Hutcherson generously gives plenty of space to everyone, Joe Henderson delivers his gruff squawking solos to order as you would expect, but the magic here is Tyner and Higgins playing off each other. Higgins snare-kicks and accents maintain propulsion through a piece that is simultaneously dreamy and spacious, a languid modal undertow, with backbone. Outstanding.

The other tracks are all on their own ways something special: Ornette Coleman’s Una Muy Bonita gets a muscular workout, the angular Black Circle offers shades of Out To Lunch, Summer Nights an ethereal ballad tiptoeing over misty ground, McCoy Tyner in lyrical melodic mood while Hutch floats featherweight over the harmonic soundscape, 8/4 Beat an intelligent piece with modal swing, and I assume from the title, something playful with time signatures, and not Brubeck.

I consider this album essential, and but for chance, the timing of the sale of Blue Note, it would have been Hutcherson’s fourth original Blue Note. Musically it belongs within the fold, but it is not a Liberty/ NY Blue Note (All Disc) manufacturing-wise, my copy fell hostage to later practices.

Vinyl: BST 8244 Division of Liberty.

This should be Van Gelder master, but my copy isn’t. Copies exist with Van Gelder master stamp (Popsike confirms), but the majority of sales make no mention of Van Gelder, some note its absence, only the minority claim the master stamp. This could be an east coast/ west coast manufacture thing, where Rudy did a master but a west coast engineer was thrown a tape to master it for himself.

The label is not from Keystone Printed Specialties (original Blue Note’s house printer). It has the characteristic yellow/cyan bias of later Liberty “mongrel sourcing”, no pride of production engineer or plant hallmark, just a matrix catalogue number hand written, jobbing manufacture. The music is great, it deserved better.

The vinyl has indications of being bulked up with a little recycled vinyl, though not to the degree of being obtrusive like some Prestige New Jazz. At the time I’m not sure anyone knew or cared.

Collectors Corner

This was an early purchase, I knew little when I acquired it, and to be truthful it remained un-played for a number of years. That is the humbling lesson of obituary-jazz: your musical palate changes over the years, you are not hearing the music you first heard those years ago. You now have a better informed palate, you will notice and appreciate things you didn’t get first time around. Things connect in a new way, because there is more available to connect with.

It is suitably humbling to go back to something you didn’t think that much of, and rediscover what you have missed first time around. You have a brilliant record you didn’t know you had, and it hasn’t cost you a dime. My only regret is the manufacturing shortcomings, but I didn’t understand that then either.Anyone with a Van Gelder copy out there?

Any thoughts on Hutcherson’s legacy? Call out your favourites. There is more to follow!


Stanley Cowell

Cowell then formed a keyboard ensemble, the Piano Choir Inc, documented on two volumes of Handscapes (1973 and 1974).

After wasting a quartet with alto saxophonist Marion Brown, bassist Billy Higgins and drummer Ed Blackwell playing Afro-soul-jazz-rock fusion on Regeneration (april 1975), and playing standards on electronic keyboards, Cowell returned to the trio format for Equipoise (november 1978), that contained Equipoise and featured bassist Cecil McBee and drummer Roy Haynes, and Sienna (july 1989), with Sienna, Sweet Song and I Think It's Time To Say Goodbye Again.

The solo-piano albums were always inferior collections of assorted covers and (recycled) originals that rarely stood out.

Cowell resumed his musical career with Prayer For Peace (february 2010), in a quartet with his 20-year old son Sunny (on viola and vocal), and It's Time (december 2011), in a trio with bassist Tom DiCarlo and the drummer Chris Brown. containing the 46-minute Asian Art Suite.

Juneteenth is an improvised solo piano recital with the 31-minute Juneteenth (recorded in november 2014) and the 17-minute Recollections.


Gallery

Selection: Jasper (1965)

On Jasper: Freddie Hubbard (trumpet) Sam Rivers (tenor, soprano sax, bass clarinet, flute) Bobby Hutcherson (vibes, marimba) Andrew Hill (piano) Richard Davis (bass) Joe Chambers (drums)recorded Rudy Van Gelder Studio, Englewood Cliffs, NJ, April 3, 1965

Other tracks: Harold Land (tenor sax) Bobby Hutcherson (vibes) Stanley Cowell (piano) Reggie Johnson (bass) Joe Chambers (drums) recorded Rudy Van Gelder Studio, Englewood Cliffs, NJ, November 25, 1968

Bobby plays vibraphone and marimba here. There is a bewildering range of these percussion idiophones, including vibraphone (or vibraharp – the registered name of one manufacturer of vibraphones), the marimba, xylophone and glockenspiel. The last two feature octave displacement.The marimba is a non-transposing instrument with no octave displacement, unlike the xylophone which sounds one octave higher than written and the glockenspiel which sounds two octaves higher than written. So now you know.

Yo! Holy Vinyl Bonus Tracks! Jasper was recorded in 1965, in the same Englewood Cliffs session as Hutcherson’s superlative definitive Blue Note album Dialogue, but not included on that LP. The song first appeared courtesy of Liberty/United Jazz Classics LT series album in 1979. For this reason alone, Spiral is essential purchase, and cheap as chips compared with Dialogue.

Hutcherson performs as you would expect, great. The added excitement is the presence of Freddie Hubbard, Andrew Hill and Sam Rivers. Sam Rivers is a “bad boy”, given to visceral shrieks and bombast on tenor, aggressive adventurous sorties, his Blue Notes are a must (Fuschia Swing Song) and his adoption of bass clarinet in this session is sheer delight, seriously bad noises, Dolphy looking on from above would approve. Hubbard’s burnished gold tone became adventurous but kept everything grounded. Hill always adds an intellectual dimension to “piano accompaniment”, straying outside conventional melodic boundaries.

Other tracks on Spiral feature dream-team Richard Davis and Joe Chambers and – bubbling, off-centre melodies, a debt here and there to Out To Lunch, Hutcherson weaving cool metallic patterns against Stanley Cowell’s expansive percussive comping.

There is quite a lot of excellent Hutcherson material on a number of these blue-label United Artists titles curated by Michael Cuscuna in the late 󈨊s. Medina also has a lot of interesting material , but Spiral is the essential one.

The minimal cost of these UA titles there is no reason not to grab all three. Whilst I have been quite critical of the audio quality of some of the LT series, I have to confess I have enjoyed listening to these recently. Anything recorded by Van Gelder has a good pedigree, difficult to mess up.

Vinyl: Liberty United LT 996 US

Recorded by but not mastered by Van Gelder, but still sounding good as anything from the Dialogue session should.


Collector’s Corner
The Jazz Classics LT series are a mixed bunch. I have previously lamented the weak presentation of some of the Mobley recordings, though the Lee Morgan’s I found better than expected. Given the extraordinary quality of unreleased material found by Michael Cuscuna in the Blue Note vaults, it would be churlish to overlook them. They are fairly easily found, not expensive, and the Hutcherson Retrospective has encouraged me to revisit others on the shelf. There is some good listening in there.

Any other recommendations from the LT series welcomed, as always, have your say.

Postscript Sept 10, 2016

The 1979 US Blue Note CLASSIC (Liberty/United) LT series was released simultaneously in the UK with the same artwork, but dubbed The JAZZ FILE, catalogue numbers change from LT to LBR.

In my limited experience the British pressings are a poor relation of the American. The US pressings will have been mastered from original Van Gelder tapes (Van Gelder recorded, mastered by UA engineers), whilst the Jazz File UK equivalents will be locally re-mastered from second generation copy tapes, which is not the best start in life.


1986: New Kids on the Block

Michael Linssen/Getty Images

Following his success with New Edition, producer Maurice Starr decided to put together another boy band. The first member chosen was Donnie Wahlberg, and he helped recruit the group's other members among friends and acquaintances. His brother Mark Wahlberg was originally part of New Kids on the Block, but he chose to quit and was replaced by 12-year-old Joey McIntyre. Columbia Records released the group's first album in 1986. The relative failure of the bubblegum pop of the self-titled release led to more artistic input for the group members.

New Kids on the Block made their first major chart impact in 1988 with the ballad "Please Don't Go Girl" from their album "Hangin' Tough." Support from MTV kicked in, and soon the group had two consecutive No. 1 hits: "I'll Be Loving You (Forever)," and the album's title song. New Kids on the Block released nine consecutive top-10 pop hit singles and led the way to what many consider the golden era of boy bands in the 1990s. The group went on hiatus for nearly 15 years but came back together in 2008 with the top-40 hit "Summertime," and as of 2017 they still occasionally perform.

  • "Step by Step"
  • "Hangin' Tough"
  • "I'll Be Loving You (Forever)"
  • "You Got It (The Right Stuff)"
  • "Tonight"

Bobby Tench

Tench is best known for his work with Freddie King [3] and Van Morrison, [4] as well as a member of The Jeff Beck Group, Humble Pie, Streetwalkers [1] and Van Morrison band. [5] He was also associated with Hummingbird [1] and Gass, [3] as a founding member. [6]

At the start of his career he performed and recorded with Gass and also appeared with Gonzalez, before joining the Jeff Beck Group. He recorded with Ginger Baker before touring with Beck, Bogert & Appice as vocalist and recording sessions with Linda Lewis. Associations with Wailer Junior Marvin and the blues, rock guitarist Freddie King followed.

He signed to A&M Records and formed Hummingbird, later joining Roger Chapman and Charlie Whitney in Streetwalkers. During this period he had brief associations with Boxer and Widowmaker, recording album tracks with each before working with Van Morrison. When his commitments with Morrison came to an end he moved on to work and record with Eric Burdon also Axis Point, before Steve Marriott included him as an official band member in a new lineup of Humble Pie.

More collaborations and associations followed with musicians such as Brian Robertson, Topper Headon, Roger Chapman, Ruby Turner, Alan Price and a re-formed Humble Pie line up.


Watch the video: Open Your Eyes