I have the following episodes of Hawaiian Eye on video
(PAL format) for anyone who's interested
in a trade for other episodes.
Season 2
Ep.19 'Talk And You're Dead'
Ep.26 'The Man From Manila'
Ep.29 'Don't Kiss Me Goodbye'
Season 3
Ep. 2 'The Kupua Of Coconut Bay'
Ep.17 'Big Fever'
Ep.31 'The Last Samurai'
Ep.34 'Across The River Lethe'
(features Lyman playing Rhapsody In Blue)
Ep.36 'Among The Living'
Not many I know, but get in touch if your interested.
My VCR can play NTSC format, maybe some NTSC
players also play PAL???
Justin from OZ.
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------------------------------
Date: Wed, 25 Jul 2001 10:25:51 +0800
From: "Jonny Perl" <delicado@cheerful.com>
Subject: (exotica) Tom Jones Records
>I can't remember the actual records but Tom does a
>great version of "You keep me hangin on"
>Also "Venus", "This is a man's world", "Sugar Sugar"
>(he copies the Wilson Pickett version, not the
>Archies version), "Lodi", "Keep on Running",
>"Mohair Sam". I'd buy the records with those songs.
I'm also in the position of not owning any Tom Jones albums, but quite fancying getting a couple.
I would add 'If I promise' as a track to get; it's one of a few great tracks I was alerted to via a compilation from list-member Brad Bigelow.
On a vaguely related note, does anyone know what album 'Go on your way' by Jose Feliciano appears on? That's another great 60s beat track I'd like to have the original of.
Brad, you did the tape (a few years back now), do you recall the album?
cheers
Jonny
ps
Just bought (at the academy LPs store here in nyc):
- - arthur fiedler and boston pops - 'superstar' (for the 'mah na mah na' cover version. It's fun, but I'm glad I don't have any of his other records)
- - Billion dollar brain soundtrack - richard rodney bennett (I couldn't resist this at $5, but I'm sure I remember the music sounding cooler when I watched the film)
- - Pete Moore - 'More and Moore' (I was surprised to find this english release here in NYC. It's from 1966 on the Pye label; I'm checking it out now. Quite pleasant brit-easy stuff with wordless vocals. Nothing remotely beaty like his famed later work, but nice.)
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp
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------------------------------
Date: Wed, 25 Jul 2001 12:09:24 -0400
From: "Br. Cleve" <brcleve@mindspring.com>
Subject: Re: (exotica) Schema/Nicola Conte
on 7/25/01 11:16 AM, James Botticelli at jimmybotticelli@home.com wrote:
> smart slogans spoken here and there. Also ComoEstas. for those who enjoy the
> Latin side of Los Chicharrons, this breakbeat artist's CD "Last Mambo In
> Tokyo" will put you over the edge...Guaranteed
speaking of Los Chicharrons, their new 12", on Tummy Touch, is a cover of
'Papa's Got A Brand New Pigbag', which for those who don't remember or know
it, was a fab jazz/funk dancefloor shaker from the early 8T's by the British
outfit Pigbag. The orginal has been a staple in Fantastic Plastic Machine's
DJ sets for awhile now.
br cleve
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------------------------------
Date: Wed, 25 Jul 2001 13:30:47 -0400
From: nytab@pipeline.com
Subject: (exotica) [obit] Milt Gabler
July 25, 2001
Milton Gabler, Storekeeper of the Jazz World, Dies at 90
By DOUGLAS MARTIN
Milton Gabler, who founded America's first independent jazz record label, became the first to reissue out-of-print jazz recordings and for years operated what many considered New York City's most comprehensive and knowledgeable jazz record store, the Commodore Music Shop, died on July 20 at the Jewish Home and Hospital in Manhattan.
He was 90 and lived in New Rochelle, N.Y.
Mr. Gabler was also one of the first to make recordings of Broadway shows and was a midwife at the birth of rock 'n' roll, producing "Rock Around the Clock," by Bill Haley and the Comets, in 1954.
When major record companies declined to record Billie Holiday's searing anti-lynching song, "Strange Fruit," for fear of losing sales in the South, his Commodore Records did. "Southern trees bear a strange fruit," the lyric went, "Blood on the leaves and blood at the root."
"We were the iron lung of jazz," Mr. Gabler said in a profile of him in The New Yorker in 1946. "Just like New Orleans was the cradle, we were the iron lung."
The New Yorker continued, using the adjective "hot" to mean jazz: "He has sold more hot records than any other music-shop proprietor anywhere. He has manufactured, under the Commodore label, some of the world's best hot recordings, and he has made them fashionable at the not inconsiderable price of a dollar and a half a copy."
In addition to Holiday and Haley, he produced records for Peggy Lee, the Weavers and the Ink Spots, among many others. He was the first to pair Louis Armstrong and Ella Fitzgerald on record. As a lyricist, he wrote the lyrics of "In a Mellow Tone" for Duke Ellington and "Love" for Nat King Cole.
Though he was often fighting the forces of prejudice, he liked to say that fun was his objective. "I did it for kicks," he said of recording "Strange Fruit." "It was exciting."
He was a nice guy in a tough business. At his beloved store, a hangout for musicians and music lovers, he would regularly talk customers out of spending more money than he thought they could afford. Down the street at the White Rose bar, where he liked to nurse a glass of Irish whiskey and a beer chaser, he was known to be an easy mark for a musician in need of an immediate $10. He called it an "advance."
"Guys were broke and knew they could come in and Milt would dip into the cash register and come up with something so they could go out and buy a hamburger," said Dan Morgenstern, director of the Institute of Jazz Studies at Rutgers University.
Bud Freeman, the tenor saxophonist with Tommy Dorsey, once used this generosity as a song title: "Tapping the Commodore Till."
Mr. Gabler was born in Harlem on May 20, 1911, the oldest of six children. His family has a summer cottage at Silver Beach, in Throgs Neck, the Bronx. He thought he fell in love with jazz at a dance pavilion there.
While still a student at Stuyvesant High School, he worked at his father's hardware store on East 42nd Street, and finagled a transfer to another shop his father owned nearby, the Commodore Radio Corporation, a popular radio and speaker supply store. He hooked up a loudspeaker over the door and tuned in a local radio station.
People kept asking if the store sold records. Mr. Morgenstern said his father told him to flip through the Yellow Pages and call the "phonograph record companies." He did, and ordered 150 records. Soon, records supplanted radios.
By 1934, the now-renamed store, the Commodore Music Shop, had become "the country's most important source of 78's and a meeting ground for fans and musicians," wrote Michael Ullman in High Fidelity magazine. Nat Hentoff, in "Listen to the Stories" (HarperCollins, 1995), called it "a nondescript shrine for jazz buffs from everywhere."
The store successively occupied three addresses on East 42nd Street, 147, 144 and 136. For a while, it had a branch on 52nd Street, where the jazz clubs were clustered.
Also in 1934, Mr. Gabler began buying boxes of out-of-print jazz recordings from major record companies that had no plans to re-release them. According to the 1999 edition of "Contemporary Musicians," this made him the first person to sell re- issued records. The reference book said he was also the first to print the names of all participating musicians on jazz records.
Mr. Gabler collected these lists of musicians into a reference book he called "Hot Discography." He was also a co-founder of the first mail- order record label.
In 1937, he decided to make his own recordings, not least because record companies had refused to sell him the masters for the re-issued records he sold. In 1939, he recorded Holiday's chilling ballad about lynching after John Hammond, her producer at Vocalion Records, a predecessor of Columbia Records, refused.
"They came to him because Billie Holiday was so fond of Milt and trusted him," said Mr. Morgenstern of Rutgers.
Throughout the 1930's and 1940's, Commodore recorded almost 90 records, using more than 150 musicians and singers. The New Yorker quoted an unnamed musician: "A ray comes out of Gabler. You can't help doing something the way he wants. Here is this guy, can't read a note of music and he practically tells you what register you're going to play in just by the position of your head."
In 1941, Mr. Gabler was hired as a record producer by Decca Records, although he continued to produce records for Commodore until 1950. In 1954, he signed Bill Haley and the Comets to Decca.
They were scheduled to record two songs on April 12, 1954, at the Pythian Temple Studio on West 18th Street in Manhattan. The first, "13 Women," was considered more promising. There were 10 minutes left for "Rock Around the Clock."
They rehearsed one quick verse to set sound levels and recorded the song live in one full take. Sound engineers were said to be alarmed at the high sound levels, but the song soon energized the market for the new sound of rock 'n' roll.
Mr. Gabler is survived by his wife, Estelle; a son, Lee Gabler; two daughters, Eileen Gabler and Melina Gabler; two sisters, Regina Greenberg of Atlanta and Helen Greenfield of Long Beach, N.Y.; a brother, Danny Gabler of Long Beach; five grandchildren; and two great-grandchildren.
At the time of his death, there was just one photo by his bedside. It was of Billie Holiday.
