Bye, Bye Blackbyrd - Gloria Lynne - Glorious (Vinyl, LP, Album)

Hedwig's Theme. Harry Potter and the Sorcerer's Stone. Easy Piano. Make You Feel My Love. You Raise Me Up. Groban, Josh. You'll Never Walk Alone. Someone Like You. All of Me. Legend, John. Right Hand Man. Something Rotten! Fly Me to the Moon. Sinatra, Frank.

Let It Be. The Beatles. The Sound of Music. Don't Stop Me Now. Here Comes the Sun. Happier Than Ever. Eilish, Billie. I Can Only Imagine. Back in the late s, when Columbia and RCA-Victor were battling to see which speed would replace the 78, Columbia went all the way and started issuing their now-microgroove singles on the 33 speed see example, below right. They even added radial "rumble strips" around the label to keep them from slipping when on a changer.

But they were just weren't popular with record buyers and 45s quickly won out for singles. Columbia had to be content with a victory on albums. By mid, the 7" 33 singles were banished from Columbia's catalog they had never been in other catalogs. When rival RCA-Victor jumped in on the stereo 45s in a big way inColumbia sat back and waited. Ultimately, they totally refused to give in to RCA's stereo singles, although the did start issuing stereo EPs in February, Instead, they re-introduced their brainchild single, this time in stereo, during the summer of A bad idea is also a bad idea ten years later, usually.

The record buying public still disliked the 33s. As singles, you couldn't put your thumb through a stack of them to keep from dropping them, and the fidelity wasn't much improvement, if any, to most customers' ears. By the start ofthe only solid customer the stereo single had was the juke box operators, who stocked their stereo juke boxes with them. All the record labels began shipping stereo singles to the juke box people in little packets of five discs, along with title strips for the juke boxes and 5x5-inch slick photos of the album from which the packet was derived.

The juke box folks loved it. A vast majority of the stereo singles listed in this discography started as part of a 5-disc package for juke boxes.

Bythe idea of selling stereo singles at the local record store was about done, and the juke boxers started going for stereo EPs and "Little LPs" with three songs on each side, costing the listener 25 cents instead of one song for 10 cents.

The Little LPs lasted much longer than the stereo- 33 singles, reaching into the s. We would appreciate any additions or corrections to this discography. Just send them to us via e-mail. Both Sides Now Publications is an information web page. We are not a catalog, nor can we provide the records listed below. We have no association with any of these record labels. Should you be interested in acquiring the stereo singles listed in this discography which are all out of printwe suggest you see our Frequently Asked Questions page and follow the instructions found there.

This story and discography are copyrightby Mike Callahan. Number - Artist - Songs - First listing in Hot as stereo single. The Leon McAuliff set below had the same design, but was more of a tan color with black print. ABC-Paramount seems to have issued all their stereo singles in five record juke box sets.

These were sent out in a kraft paper mailing LP as shown at left. At this point, the label design changes, eliminating the horizontal line. Argo The stereo singles had the Argo tan label with black print, logo at left.

Atco Blue label with silver print. Brunswick Orange label with black print. Blue Note Although Blue Note issued quite a few stereos with one song on each side, these songs were typically long jazz pieces, so the records are classified as Little LPs even though they have only one song on each side.

See the Little LP page. Cadence The first stereo singles had the maroon label with silver print. Cadence released some five-disc juke box packages, but apparently issued other stereo singles as well. The package envelope for the Chordettes juke box set is shown at left. Our copy of this package contains, and Originally issued withArchie Bleyer undoubtedly got pushback from the juke box operators that the big hit "Never on Sunday" wasn't in the package, but was advertised on the slick he provided for display.

He apparently removed and substituted a new single, When Cadence changed to the red label inthe stereo singles changed labels, also. Capitol The First Capitol stereo label was black with silver print. There was a vertical line down the left side of the label, with the Capitol logo directly left of the center hole. This label design was used until Capitol album in early with the exception of - see below.

Capitol issued stereo singles primarily in batches of five for juke box use, but there are a few exceptions. The singles for Nice 'N' Easy used a purple "throwback" label, a label Capitol had abandoned in The stereo singles for X were also known to use this label.

From the Frank Sinatra album Nice 'N' Easy [Capitol ST]: The singles below were originally pressed on the purple Capitol label, then reissued on the black label with the logo at left. Starting here, the stereo singles used a black label with the Capitol logo at the bottom, and a large "33" at the top.

Capitol also released mono singles, with a similar label to the stereo singles. Carlton Grey label with black print. Carlton apparently issued only the five-disc juke box sets for their stereo single releases. When stereo singles came out in on 45s, Columbia bided their time until mid, when they re-introduced the 33 single, this time in stereo.

Columbia started by issuing two special promotional singles, each with a different artist on each side. On each side of these promo singles, and also on the sleeve, the following information was printed: "This is a completely new kind of record combining two great innovations - the convenient 33 RPM Lp speed and exciting Stereophonic sound.

You can play this record interchangeably with your inch stereophonic Lp albums. Columbia also issued a six-pack of promotional stereo singles in a cardboard carrier box. As far as musical influences, aside from saxophonists, are concerned, I think I was first awakened to musical exploration by Dizzy Gillespie and Bird.

It was through their work that I began to learn about musical structures and the more theoretical aspects of music. Our musical appetites were the same. We used to practice together, and he weald write out some of the things we were interested in. We would take things from records and digest them. In this way we learned about the techniques being used by writers and arrangers. Another friend and I learned together in Philly — Calvin Massey, a trumpeter and composer who now.

His musical ideas and mine often run parallel, and we've collaborated quite often. We helped each other advance musically by exchanging knowledge and ideas.

Paul Chambers September 21, He contributed two. Both pieces were stamped be-bop. Both had that notched. Chambers, a. So the center of the music was maintained.

This was Jones's. The peculiar development of African culture in North America began with the loss of the drums. The Protestant, and often Puritan, slave owners interfered much more radically with the personal life of their slaves than did their Catholic colleagues in the West Indies or in South America.

The slaves were allowed no human dignity and their cultural past was ignored; or elsa it was considered a humane task to educate them into being 'better' human beings, and this process was initiated by teaching them to be ashamed of their African heritage.

And to forbid the drums was to show a keen scent for the essential: for without the drums it was impossible to call the orishas, the ancestors were silent, and the proselytizers seemed to have a free hand. The importance of the drums is outweighed by the importance. In brief.

Or I might put it in. Harmonically, the. So a piece with essentidly. Although "Nita," Trane's second composition for the. It has tremendous vertical movement. Interestingly enough. African-American context. From his American context he.

But his ancestral heritage. For more than years after Purcell's death in the energies which might have been expended on secular music were devoted to the one object of eating up as much of the world as she could. And this was only made possible to her by the maintenance at home of two castes: one meekly submissive and liable to be hanged in batches at Tyburn for stealing a loaf of bread; the other strongly aristocratic, wealthy, insolent, and ignorant.

As a subject worthy of a gentleman's serious interest, we may see how it stood by turning over the pages of Boswell's Johnson. Even Macaulay — whose speciality was omniscience — could write a history of James II's reign without discussing Purcell.

This type of mind which assigns to musicians the status and rewards of a mountebank was universal in England. It is now something less than universal. But if would be a gross untruth to say that in two Englishmen of equal ability could meet with equal success, if one of them was a musician.

To the educated Englishman, a savant who deals with Greek manuscripts is a scholar and a gentleman : one who deals with musical manuscripts is a scholar but a musician. If he is a symphonist he is wasting his time pitting himself against his superiors the Germans.

The sparse creative. Trane was of. The accent is not on his supposed individuality as opposed to his collective obligations, but. But he will not travel in an air-conditioned car on tarred roads; it is not a journey to be undertaken, and perhaps only a sense of compulsion that drives one on regardless of aught else will ensure success. As is so often the nature. Rollins had a record date and wanted.

Coltrane had gone along. It is for this. Where Coltrane would double-time his. Reproduced with permission o f the copyright owner. Later in the year. His embellishing. Trane was very supportive in. New York; William Morrow and Co. In other words, I believe that if the dice had not been so loaded against him — as they were also for Charlie Parker — he might well have adopted the life-style of a monk.

In any case, the character of the artist does not begin to matter. It could not be otherwise. We should know by now that the use of Drugs as a means of getting-spiritually-rich-quickly is not merely a mirage, but a double-edged sword of Damocles that comes raging down on the unprotected head of the victim without warning and without pity or compassion.

Robert de Ropp, thought that we were only at the beginning of the chemo-psychiatric age, and that quite likely the perfect euphoriant may at any time emerge from the test tube of the chemists.

Philadelphia and lived with his mother. He was already a. Trane and comparing him favorably to Rollins. Shepp had. While in. One evening Massey took. More important was that. When you control a man's thinking you do not have to worry about his actions.

You do not have to tell him not to stand here or go yonder. He will find his 'proper place' and will stay in it. You do not need to send him to the back door. He will go without being told. In fact, if there is no back door, he will cut one for his special benefit. His education makes it necessary. Trane had been working on. Tyner was puzzled by this and. It seems that. Tyner remembers that week well: "It must have. You know. During the first. I still could hear his sound.

His sound was different from. His approach to music was different. I'm reminded of Sowande's description of the magic. We see a very close parallel in the Greek 'doctrine of ethos' according to which Music was 'the most immediate expression of Eros, a bridge between ideas and phenomena,' and which recognized that there was a correspondence between Sound per se and cosmic phenomena, which included birth and death, man and woman, the seasons, reincarnation, etcetera, etcetera.

It was held therefore that Music could produce good citizens and a good state, just as it could undermine the human system, lead to mental unbalance, produce bad citizens, a bad state, and chaos. Although originally from. To date, no. However, in. The year was a productive one for Trane.

They played. Working with Monk brought me close to a musical architect of the highest order. I felt I learned from him in every way — through the senses, theoretically, technically.

I would talk to Monk about musical problems, and he would sit at the piano and show me the answers just by playing them. I could watch him play and find cut the things I wanted to know. Also, I could see a lot of things.

Again, with Monk, music had a magical quality. To him. Many times he. About this time, I was trying for a sweeping sound. I started experimenting because I was striving for more individual development But actually, I was beginning to apply the three- on-one chord approach, and at that time the tendency was to play the entire LP of each chord. I found there were a certain number of chord progressions to play in a given time, and sometimes what I played didn't work out in eighth notes, 16th notes, or triplets.

I had to put the notes in uneven groups like fives and sevens in order to get them all in. I thought in groups of notes, not of one note at a time.

I tried to place these groups on the accents and emphasize the strong beats — maybe on 2 here and on 4 over at the end. R eproduced with permission o f the copyright owner. April 16, The last, "Epistrophy," was recorded June. Ideas at this profound level will not reveal themselves to an individual with a shallow surface- level kind of awareness, or to one who has not mastered the tools of his trade.

In the same way, high-level Ideas, if one might call them that to distinguish them from Ideas that occupy the lower rungs of the Hierarchyare just as particular about the quality of mind of the individual who -seeks to play host to them.

This is true, whether we are thinking of Musical Composition or of Painting or of Architecture, or of Research, or whatever. If one had to suggest a basic difference between the low-level Ideas and the high-level ones, I think I would say that the low-level Ideas are concerned with the HOW of things, whereas the high-level Ideas are concerned with the WHY of the manifestation of Life in all its aspects.

Trane's improvisation on "Trinkle Tinkle," which. In the seventh. When he was with me the first time, people used to tell me to fire him. They said he wasn't playing anything. They also used to tell me to get rid of Philly Joe Jones. I know what I want though. I also don't understand this talk of Coltrane being difficult to understand. What he does, for example, is to play five notes of a chord and then keep changing it around, trying to see how many different ways it can sound.

It's like explaining something five different LP. And that sound of his is connected with what he's doing with the chords at any given time. In the ninth measure. He is constantly. I just have to have more of a blueprint. It may be that sometimes I've been trying to force all those extra progressions into a structure where they don't fit, but this is all something I have to keep working on.

I think too that my rhythmic approach has changed unconsciously during all this, and in time, it too should get as flexible as I'm trying to make my harmonic thinking. Professor Sowande. Monk taught him about the "magic in sound. He knows. His touch on. Trane's solo in "Nutty" is really a duo between. An uneven group of notes. No one in his senses would be rash enough to attempt to specify this or that scale as being 'typical' of Ibo or Yoruba m usic, traditional or otherwise.

But there is, in both areas, rn important group of vocal music characterized by: a the use of triple time, i. The compound statements are not only in uneven groups, but.

He does this for many different. On "Nutty,". Gillespie and Parker during the '40's. It was incredible, like Diz and Bird,'. This card is a must if a musician. So this event. I think Monk is one of the true greats of all time. He's a real musical thinker — they're not many like him. I felt fortunate to have had the opportunity to work with him. If a guy needs a little spark, a boost, he can just be around Monk, and Monk will give it to him.

All of his work. In his work on "Blue. The blues offered the kind of structure. In his. Only where it is latent or dormant in an individual can it be brought out. Where it does not already exist even in a latent manner, or where it has atrophied, nothing can be done. Such individuals tend unwittingly to make a virtue of necessity by claiming for FORM a priority which it does not have, but only so can they cover the nakedness of the Spirit in them.

American music, and was an intuitive form for Coltrane. Bostic's band in the early fifties and in Eddie "Cleanhead". Knowledge is to consciousness what the signpost is to the traveler: just an indication of the way which has been traveled before. Knowledge is not even in direct proportion to being. The supreme lesson of human consciousness is to learn how not to know. That is, how not to interfere. That is, how to live dynamically, from the great Source, and not statically, like machines driven by ideas and principles from the head, or automatically, from one fixed desire.

Education means leading out the individual nature in each man and woman to its true fullness. You can't do that by stimulating the mind. To pump education info the mind is fatal.

That which sublimates from the dynamic consciousness into the mental consciousness has alone any value. African-American people. It is one of our primary sources. What is correct in all this is the fact that the blues did originate from the contact of African and European music. How the different contributions are divided, in what way these two very different styles affected one another, Dauer has described and determined. It is not the formula of the blues that is the true Hallmark of blues but the sequence of voices, which is founded on the African antiphony.

In the simplest case the phrase sequence runs A B and corresponds to the functions of an appeal and an answer. In the beat blues, which have become classic, the sequence runs A A B, which corresponds to two appeals and one answer. Instead of a chorus answering the singer, there are instruments accompanying the singing. In Africa the drums lead the singer's performance; one might say that the song accompanies the drums.

In the blues this relation is reversed. First there is unaccompanied singing, then in the course of the development the instruments are added, but they are only accompaniment and the singing remains the most important part of the performance.

In recording Western Nigerian music. On the other hand, African Music at its serious level, has produced superb "pure" melodies, clear of percussive support, and comparable more to Plainchant than to any other form of vocal music.

Here also we find that the "call and response" type of song supposed to be "typical" of African Music is often absent. Individualism is his keynote, and so the experiences of any one creative artist cannot be used as source references for generalizations about the type.

Every creative artist goes as it is written of him, and you might as well try to push an express train back with an umbrella as stop him in his course, if he is in fact a creative artist and not merely fooling himself and others. He is a law unto himself, often just as utterly insensitive to the feelings of others as he is ultra-sensitive to his own where his art is concerned.

But let him but swerve from the path of duty; let him but mistake means for ends; let him but remove his Muse from her pedestal and install himself there; let him but fail to control the surge of life forces which course through him as he struggles — like a woman in child-bearing —. He is left, a slave to his own passions, perhaps a deft musical carpenter, but no longer in possession of that magic of creation, through which even stone becomes a sentient living thing under the hands of an inspired sculptor.

Having once scaled the heights, he cannot now return to walk in the middle of the road. Either he becomes a colorless, crafty bore, or he de- generates into a boorish, cruel and coarse person. Coltrane's solo on Album) Train" is evocative.

There is a. This is another example. There are only five. There are numerous. It is in fact called the Konkolo rhythm, because the Yorubaman holds that the drum which retains this rhythm throughout a piece is really saying "Kon-kon-ko-lo-kon-ko-lo" in the notated rhythm above. Thus, hidden within the quadruple mecsure is what we may term the "submerged triple measure. The ensemble. Trane uses the. His articulation is stellar. The central energy runs through all subsequent differentiations; it lives in them all and cuts across them to the individual psyche; it is the only factor that remains unchanged in every stratum.

Each segment stands for a further differentiation of the collective psyche, until, in the development from ethnic groups to national groups, from tribe to family, the summit, in individual human psyche is attained. In Jung's diagram, where two nations are in contact one with another, only the Individual and the Family i. All the others from c"tribe," onwards, cross national boundaries; except in the case of an "isolated nation," where national boundaries are crossed clearly at e"ethnic group.

For in reality what we are saying is that we want to set out to re-establish direct and intimate connection with our "collective unconscious" as Africans, in order to take from it everything we need, for creating new music in this century that will have meaning, purpose, and direction for the African and will be recognized as such by the African.

In hjs solo on "Blue Train" Trane, as he did with. He was doing this while developing. Now he needed the space in which. This didn't necessarily mean more. Even in. The thirty-two bar "Lazy Bird,". At the beginning of the. However, after the second. This phrase is repeated nowhere in his. He plays. This only further. One is immediately reminded. Sometimes what. I was doing clashed harmonically with the piano — especially.

Just looking at "Lazy Bird" one. He was now primarily concerned. Train" and "Lazy Bird" was a sextet, including the previously. He was a man of. His ideas were. He, like Trane, played interesting. And he could jump to any. I have already spoken of my admiration for "Philly". The trombonist was Curtis Fuller. The pianist. Drew fired out lines. His improvisations. They recorded two standard tunes. Trane loved to play the standards. And he always played ballads as if.

Professionalism is environmental. Amateurism is anti-environmental. Professionalism merges the individual into patterns of total environment.

The amateur can afford to lose. The professional tends to classify and to specialize, to accept uncritically the groundrules of the environment. The groundrules provided by the mass response of his colleagues serve as a pervasive environment of which he is contentedly and unaware. The "expert" is the man who stays put. Trane was deep into the research of our music.

When he spoke about his. But surely research which does not as a direct result take what is new and reshape it into a familiar form is no more than a sterile intellectual exercise.

Surely it is obvious a that in order to reshape what is new into a familiar form you have first to discover what is new - which is the Theory side of. He used a blistering sound on. In his ballads, he.

The pianoless trio was not a new innovation. It seemed. In the trio with Earl May and. May, best known for. Oddly enough, Rollins has rarely indulged in this sort of exchange. His tenor battles have been confined, on record at least, to confrontations with Coleman Hawkins, Charlie Parker and Sonny Stitt plus Coltrane.

The other musicians. Thus Trane had a. He knew exactly. Prestige Records, Inc. His sensitivity to Trane. It's funny because May increases the LP slightly.

There was a. May also moves. His tempos on standards were. After leaving Monk, I went back to another great musical artist. On returning, this time to stay until I formed my own group a few months ago, I found Miles in the midst of another stage of his musical development. There was one time in his past that he devoted to multichorded structures. He was interested in chords for their own sake. But now it seemed that he was moving in the opposite direction to the use of fewer and fewer chord changes in songs.

He used tunes with free-flowing lines and chordal direction. This approach allowed the soloist the choice of playing chordally vertically or melodically horizontally. In fact, due to the direct and free-flowing lines in his music, I found it easy to apply the harmonic ideas that I had. That way I could play three chords on one. But on the other hand, if I wanted to, I could play melodically. Miles' music gave me plenty of freedom. It's a beautiful approach. It was easily the most. Davis was a great thrill for Coltrane.

Adderley was in. The old rhythm section. Even on the first record. The term embraced four distinct groupings, or worlds, or level of consciousness, as inter-changeable termswhich exist and function between the two great Poles of Manifestation.

One Pole is male- positive-dynamic-its energy always outgoing, or centrifugal. The magnetic field created by these two cosmic poles of manifestation constitutes "the universe" within which the four worlds exist and are discernible and function. World 2: The Ancestors and Heroes. World 3: The Humans, embracing the three subdivisions: - a The departed members of the society. World 4: The world of Nature, and of the Elemental Spirits. But these four worlds do not exist in isolation one from the other.

These two poles are best imagined as being rather like the Globe which is our Earth; where the Equator is, there you have Pure Spirit at its least refined in conjunction with Dense Matter at its most refined, and Primal Man is the result of this conjunction. This "One Consciousness" runs through all the worlds like a golden thread, linking them up.

The total acceptance of the concept of Multiple-Incarnations or Reincarnation as an article of faith, by the African, also links these four worlds into one system, in his mind.

Even so these four worlds are not to be confused with one another, any more than one confuses a person's head with his feet merely because both belong to one and the same person. Each world, therefore, exists and functions according to the laws of its "level of consciousness," and each world is male" to the world immediately below it, but "female" to the world immediately above it. Then are all communicating channels alive and open, functional and functioning, active and responsive.

An ideal condition. During his improvisation on. The fir3t chord is an M7 followed. Chaser," Trane executes his three-on-one approach. At the. The line ends off spelling a CM7. The notes in the parentheses represent the order in which. There are six sets. I'm very interested in the past, and even though there's a lot I don't know about it, I intend to go back and find out. I'm back to Sidney Bechet already. Take Art Tatum, for instance.

When I was coming up, the musicians I ran around with were listening to Bud Powell, and I didn't listen too much to Tatum. That is, until one night I happened to run into him in Cleveland. They played from in the morning to — just whatever they felt like playing. I've never heard so much music. Then I worked with one of my first loves, Johnny Hodges. I really enjoyed that job. I liked every tune in the book. Nothing was superficial. It all had meaning, and it all swung.

Trane listened, really listened to his employers. In fact. He showed me a lot of things on my horn. It was an intense. Later, his first wife, Naima, introduced. Sowande talks. Black Experience of Religion must obviously consider the blackman within the context of the traditional religion of his African forefathers, the integrity both of the blackman as well as of Africa being maintained. Most of us know only too well that such terms like "African Traditional Religion" are often used to identify an ersatz system assembled from the questionable findings of even more questionable authorities, and that a great show of seriously considering this perversion is made, while in fact it is being used as a foil to highlight the virtues of "Christianity" or "Islam" over all traditional beliefs of Africa.

When eventually this nation broke up into the various tribes, the Great Belief had taken such a strong hold on the souls and minds of people that they were completely lost without JLt «.

Not so with the Black Man. Everything he does, thinks, says, dreams of, hopes for, is moulded into one structure - his Great Belief. Things like disbelief, doubt, agnosticism, atheism, disobedience are entirely unknown, unfathomable. There is no aspect, no facet, no phase of Life that is not, for the Yorubaman, intimately connected at source with Ifa; the Yoruba Priest who says "Ko si ohum ti Ifa ko fa tan," meaning "There is nothing anywhere that IFA does not totally cover in every minute detail," is but voicing a truism.

In the final analysis, it is the Intuition that must be brought into play, not the Intellect. For the Intellect cannot cope with the Archetypes which are neither good nor evil but both in an undifferentiated state, and the World of the Blackman is an Archetypal World. Even the notation of the Odus of Ifa in Yorubaland point to this fact. This means, of course, that we use the Intellect and take every precaution against being used by the Intellect.

Religion is the inner awareness of a factual dynamic relationship between the individual on one hand, and the Cosmos and the World of Nature on the other. Drama is the enactment of that relationship, in movement and speech. The science of social organization is an accurate reproduction of that same relationship, in terms of human society. The science of government is the codification of that relationship and its application in that society, its purpose being to subserve the science of social organization.

Economics, Family structure, and the Individual within the Family, are determined by, and subserve, the science of government and the science of social organization.

And music was the art through which he. This spiritual awareness had a great bearing on all aspects. He was reaching the end of a long. Zita Carno.

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