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In the last issue of Goldmine, I cued readers in on some rare jazz LPs that collectors could find for a song.
Now, I’m back to give you more. You may never find more than one or two of the records discussed in this series. If not, don’t despair. My guess is that there are a few hundred nice jazz LPs floating around out there waiting to be discovered. If you think you have a few, contact me at email@example.com. Happy hunting.
Mas Que Nada & Guantanamera
Personnel: unknown, but includes piano, bass, percussion blocks(??), and usually a guitar or flute.
Wyncote was a budget label subsidiary of Cameo-Parkway. Like many budget labels, Wyncote typically offered little in the way of liner notes. We are informed only that Brazilia’ 67 is a new group, destined to become “the absolute ultimate on the bossa nova scene.”
Who were these folks? Local musicians from the Philadelphia area? A group from Rio that sent an audition tape to Cameo-Parkway?
Apparently, so little attention was paid to this LP by the people at Cameo-Parkway that no one noticed that the group was named “Brazilia’ 66” in one place on the cover and “Brazilia’ 67” in two others. Gaffes aside, the music is quite nice — if you like the South American-flavored jazz that became very popular here in the mid-’60s, this 10-track LP will be a welcome addition to your collection.
Dickey Myers w/Joe Albany, Jeff Fuller, Frank Bennett
Personnel: Myers, tenor sax; Albany, piano; Fuller, bass; Bennett, drums.
Joe Albany made a couple of rare albums for Riverside way back when, but I can’t find any information about the other three artists in the latest price guide.
All of them are quite competent, but Myers is the featured star on this LP that originated from New Haven, Conn., in 1979. Myers was “discovered” at a club in Bridgeport, playing as a warm-up act for Dexter Gordon, who, according to the liner notes, was quite taken by Dickey’s playing. “Carrie B. Nice” and “Lately Little Man” are attractive up-tempo romps, and the version of “I Can’t Get Started” is played here about as well as I have ever heard it.
Dayton Selby Trio
The Feminine Sax
Personnel: Willene Barton – sax, Selby – organ, unidentified drummer.
Yes, this is the same label that gave the world Walley and his Polka Faces, and the mighty Cricketone Orchestra, the latter being the musical vehicle that brought us the “Hokey Pokey,” “Bunny Hop” and other “party favorites for children.”
According to the sparse liner notes, the trio had previously recorded for RCA Victor. Maybe so, but I found no mention of this trio in either of my jazz price guides.
Barton is a female sax player, hence the title. How good is she? Good enough to hold her own with the better sax players of the time. We are told that this trio was well-known around Cincinnati, and therein might lay a stylistic clue. On “Little Brown Jug,” “Blue Moon” and “Seven Eleven,” they sound a lot like Bill Doggett’s early combo.
In 1957, when this LP appeared, Doggett was a fixt