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A worldwide revival of interest in the 1970s included the New Black Eagle Jazz Band , still active, and in the late 1980s a number of musicians such as Wynton Marsalis began performing and recording not only original trad jazz tunes but new compositions in the style as well.

John Petters Productions
New House Farm
Hospital Drove
Long Sutton
PE12 9EN
United Kingdom

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Midday Jazz Host and Producer, Chris Cortez is immersed in music every waking moment of the day. He splits his time between working full-time at KCSM Jazz 91, operating his own music production facility, (Nice N Up Studios SF) and performing Internationally with his reggae band of 24 years (Native Elements). Chris Cortez has been a part of the award winning KCSM on-air team for over 23 years joining the line-up in 1994 as host of The Jazz Oasis followed by Evening Jazz and currently Midday Jazz. He has literally spent half of his adult life at KCSM radio programming a wide range of jazz for various programs. He also produces the long running "I'm Talking Jazz" series. Originally, from Pampanga, Philippines, Chris Cortez immigrated to the US at age 2 and has been living in the San Francisco Bay Area ever since. His love and pursuit of music happened in the 5th grade when he first saw a traveling musical review perform at his school. From that moment on he was hooked and has been pursuing music ever since. He earned his Bachelors Degree in Radio & Television from San Francisco State University and has worked at several commercial recording studios before accepting a full-time spot at KCSM. His combined experience as a veteran music producer, drummer and bandleader has kept his focus on all things music past and present. Tune-in for an expertly crafted show that seamlessly weaves timeless classics and modern undiscovered gems hand-picked by Chris from one of the most extensive jazz radio libraries in the Nation.

Atlantic entered the 33 1/3 rpm long play record business very early, issuing it's first album in March of 1949. Ahmet was well aware that a rhythm and blues album had little chance of success, since 78 rpm records dominated that genre. So even though Atlantic was successful with rhythm and blues recordings, their first foray into the album market was with a poetry album, Walter Benton's This Is My Beloved . John Dall provided the narration and Vernon Duke provided the background music. This 10-inch album carried the number 110 which stood for "one 10 inch disc." The matrix numbers on this disc were TLP 11213/11214.

The same material was released simultaneously as three 12 inch 78 rpm discs with the catalog number 312-S. The 312 stood for "three 12 inch discs" and "S" stood for standard speed which at that time was 78 rpm. The individual 78 rpm records were numbered 1201, 1202, and 1203.

Atlantic rather quickly dropped this unwieldy numbering system and issued their second and third LPs in May, 1950, as LP-108 by Joe Bushkin and LP-109 by Erroll Garner. The catalog prefixes for this series varied, sometimes just using "LP," and other times using "ALS-" or "ALR-". In the discography below, we have tried to go with (1) what's on the LP jacket, or (2) the prefix listed in the early Atlantic catalogs, or (3) the prefix on the label. Jacket prefixes and label prefixes were not always consistent. Atlantic may have even issued the same album with different prefixes, depending on how their catalog looked at any given time in the album's pressing history.

The first 12 inch LP issued by Atlantic (January, 1951) was ALS-401 which was a recording of scenes from Shakespeare's "Romeo and Juliet" performed by Eva LaGallienne and Richard Waring.

The label for Atlantic 10-inch albums LP-108 and ALS-110 were grey with red print. The Atlantic name was white bordered in red, with "FULL RANGE RECORDING" in white under the name (see label at left). Around the top and bottom edge of the label were "LONG PLAYING" and "MICRO-GROOVE RECORD" respectively. There was a concentric white band about two-thirds of the way out from the center hole towards the edge of the label. The label for Atlantic 10-inch album LP-109 had the same design as the label above, except the background was yellow instead of grey, and the print was black rather than red. The label name was white bordered in black. It also had a white band like the earlier label, outside of which was "LONG PLAYING" at the top and "MICRO-GROOVE RECORD" at the bottom. This label was issued at the same time as ALS-108. Seeing that Atlantic went with the yellow design in subsequent releases, they must have liked this one better. Starting with ALS-111 in 1952, the label on the Atlantic 10-inch albums and the first few 12-inch albums was yellow with black printing. "ATLANTIC" was over the center hole in black with a thin black line under it, there was a black ring about two-thirds of the way from the center hole to the edge of the label except in the area where the Atlantic name was located. At the bottom of the label was "LONG PLAYING" on one side and "UNBREAKABLE" on the other, between the words was a circle with 33 1/3 RPM. This label was used on all subsequent 10-inch albums and the 12-inch albums to LP-1211. Later pressings may have different labels, especially, the later all black label with silver print, but we have seen most of these on the yellow label.

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 Atlantic Records. Should you be interested in acquiring albums listed in this discography (which are all out of print), we suggest you see our Frequently Asked Questions page and follow the instructions found there. This story and discography are copyright 2000, 2002, 2010 by Mike Callahan.

MCFADDEN & WHITEHEAD / ARCHIE BELL & THE DRELLS ‘Ain’t No Stoppin Us Now / Strategy’ (Philadelphia International) 12” $10

Roger is a product of Liverpool and remains a passionate Red. He attended the Merchant Taylors School prior to joining the Merchant Navy. His eight years at sea gave him ample time to practise his new clarinet with a captive audience. After his sojourn at sea he returned to land and crossed the border to Yorkshire where he joined the Vic Bevan Band.

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... It fascinates me that such a trifling tune could have settled into the public consciousness as Ja-Da has. Of course it's bone simple, and the lyric says almost nothing, except perhaps the explanation of its success lies in the lyric itself. "That's a funny little bit of melody—it's soothing and appealing to me." It's cute, it's innocent, and it's "soothing." And, wonderfully enough, the only other statement the lyric makes is "Ja-Da, Ja-Da, Ja-Da, Ja-Da, Jing, Jing, Jing." [1]

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