Kendra Steiner Editions (Bill Shute)

December 31, 2020

Brother Jack McDuff with Gene Ammons, ‘Mellow Gravy’ (1963, Prestige Records)

Filed under: Uncategorized — kendrasteinereditions @ 12:21 am


A1Watch Out
A3Mellow Gravy
B1Christopher Columbus
B2Buzzin’ Round
B3Mr. Clean

Drums – Joe Dukes
Guitar – Eddie Diehl
Organ – Jack McDuff
Tenor Saxophone – Gene Ammons (tracks: A1, A3 to B3), Harold Vick

December 30, 2020

133 productions from Huey P. Meaux

Filed under: Uncategorized — kendrasteinereditions @ 1:44 am


note: there are 171 entries in the playlist, but 38 of them are either deleted or set as “private,” so that adds up to 133 active tracks of classic Huey P. Meaux productions….enjoy.

I once chatted with a lady at the Continental Club in Austin back in perhaps the mid-to-late 90’s (as we were waiting for one of Toni Price’s Happy Hour sets) who’d worked at one time or another for both Huey P. Meaux AND Roy C. Ames….we had to stop when the music started (after maybe 15 minutes), but I wish I could have kept her spinning the anecdotes for hours!


December 29, 2020

newsreel footage from Eddie Condon’s NYC nightclub, 1946

Filed under: Uncategorized — kendrasteinereditions @ 12:36 am

Eddie Condon – plectrum guitar
Gene Schroeder – piano
Dave Tough – drums
Wild Bill Davison – cornet
Tony Parenti – clarinet
Brad Gowans – valide trombone (combination of valve and slide, hence “valide,” a hybrid trombone of his own invention)
Jack Lesberg – bass

note: sound starts at 1:46, prior to that is “establishing” footage capturing the atmosphere of the club…some exciting music here, allowing those of us who were born too late to experience a taste of what it must have been like at Condon’s during the club’s (and Condon’s) heyday…and Eddie ALWAYS had a great band….

December 28, 2020

Bob Crosby, ‘Bobcats Blues’ (Coral Records LP, 1956)

Filed under: Uncategorized — kendrasteinereditions @ 1:31 am


A1 St. Louis Blues
A2 Blues For You
A3 Loveless Love
A4 The Memphis Blues
A5 Yellow Dog Blues
A6 Lose All My Blues (For You)
B1 Exodus Blues
B2 Beale Street Blues
B3 Joe Turner’s Blues
B4 Aunt Hagar’s Blues
B5 Way Down South Where The Blues Began
B6 Ash Trays For Two

Beginning in 1935, bands fronted by vocalist Bob Crosby made fine music, continuing on until long after the big-band era was over. Though not a musician himself, Bob Crosby’s “brand” eventually became identified with first-rate big-band adaptations of Dixieland jazz. Crosby’s 30’s and 40’s bands still played a wide variety of then-popular swing music, but the core of the band was always based in New Orleans/Chicago jazz. As esteemed an authority as the late George Buck has stated that the Crosby band was his favorite of the big-band era, and the small group-within-a-group, BOB CROSBY’S BOBCATS, could always hold their own with whatever masters like Eddie Condon had on offer in the small-group traditional jazz vein.

In the 1950’s, Crosby had moved on to both radio and TV success, both on the Jack Benny Program (where he replaced Phil Harris as the bandleader) and on his own shows. However, he still assembled bands for his recording contract with Decca’s CORAL subsidiary (there were a number of fine jazz albums on Coral), and he often used former Bobcats from the golden days, as well as other greats of traditional jazz.

This album was new to me, when I encountered it online recently, but any fan of the patented Crosby big-band-dixie sound should find it a brisk and stimulating listen. I recognized the inimitable saxophone of Eddie Miller, and an online search gave up some of the other names on the album, including such greats as Charlie Teagarden, Nappy LaMere, Ray Bauduc, Matty Matlock, Dick Cathcart, Nick Fatool, and Abe Lincoln.

Also, 8 of the 12 songs on the album are from the pen of W.C. Handy! That should give you an idea of what’s in store within the punchy MONO grooves of this Coral album.

Now, I’ve got to hear the other mid-50’s albums Crosby’s crews recorded for Coral–I’d gamble they are in a similar vein, since there was still something of a traditional jazz revival going on in the mid-50’s….and there were a lot of big-band fans who were now middle-aged and wanted LP’s of their favorite bands to play on their hi-fi systems.

Put this album on while reading or doing something around the house and you’ll feel like you are on the set of the Jack Webb film PETE KELLY’S BLUES….or seeing the prime Crosby band of 1942, with all the jazz and none of the pop vocals. And you can get a copy on Discogs for under two dollars!

December 27, 2020

Art Pepper Quartet, “Jazz Casual” TV show (1964)

Filed under: Uncategorized — kendrasteinereditions @ 12:39 am

Art Pepper – Alto Saxophone….
Frank Strazzeri – Piano….
Hersh Hamel – Bass….
Bill Goodwin – Drums….
1 – “The Trip “
2 – “D Section”
2 – (Untitled)
Recorded – May 9, 1964

Jazz Casual TV show, hosted by Ralph J. Gleason

December 26, 2020

John Fred & His Playboy Band, ‘Permanently Stated’ (1968 LP, Paula Records)

Filed under: Uncategorized — kendrasteinereditions @ 1:31 am


  1. 01 – We played Games (03:02)
  2. 02 – Surprise, surprise (02:43)
  3. 03 – What is Happiness (03:16)
  4. 04 – Lonely are the Lonely (02:38)
  5. 05 – Mary Jane (02:56)
  6. 06 – Tissue Paper (03:57)
  7. 07 – Hey, hey Bunny (02:33)
  8. 08 – Who could Love you (more than I) (02:37)
  9. 09 – Little dum dum (02:46)
  10. 10 – Before the Change (04:25)
  11. 11 – Permanently Stated (02:33)


December 25, 2020

CHET BAKER & Christopher Mason, “Silent Nights–A Christmas Jazz Album” (1986)

Filed under: Uncategorized — kendrasteinereditions @ 12:12 am

Trumpet – Chet Baker….
Alto Saxophone – Christopher Mason….
Bass – Jim Singleton….
Drums – Johnny Vidacovitch….
Piano – Mike Pellera….
A1 Silent Night 2:50
A2 The First Noel 2:06
A3 We Three Kings 2:27
A4 Hark! The Herald Angels Sing 2:01
A5 Nobody Knows The Trouble I’ve Seen 3:57
A6 Amazing Grace 3:36
B1 Come All Ye Faithful 4:28
B2 Joy To The World 2:40
B3 Amen 1:41
B4 It Came Upon A Midnight Clear 1:57
B5 Swing Low, Sweet Chariot 3:24
B6 Silent Night 4:03
Recorded – Jan 7, 1986 at Ultrasound Studios, New Orleans, LA

December 24, 2020

Jim Reeves Christmas Radio Show, 12-25-1957

Filed under: Uncategorized — kendrasteinereditions @ 12:11 am

December 23, 2020

Warne Marsh & Sal Mosca, ‘How Deep, How High’ (1976/1979)

Filed under: Uncategorized — kendrasteinereditions @ 2:44 am

All compositions by Warne Marsh except where noted

“The Hard Way” (Sal Mosca) – 4:03
“Noteworthy” – 4:21
“Finishing Touch” (Mosca) – 3:41
“How Deep, How High” – 4:30
“Background Music” – 7:01
“She’s Funny That Way” (Neil Moret, Richard A. Whiting) – 8:05

Recorded at Sarah Lawrence College, Bronxville, NY on April 25, 1976 (tracks 5 & 6) and at Sal Mosca’s Studio in Mount Vernon, NY on May 2, 1979 (tracks 1 & 2) and August 8, 1979 (tracks 3 & 4)

Warne Marsh – tenor saxophone
Sal Mosca – piano

Sam Jones – bass (tracks 5 & 6)
Roy Haynes – drums (tracks 5 & 6)

December 22, 2020

John Cage, “Seven 2” (1990)

Filed under: Uncategorized — kendrasteinereditions @ 1:55 am


John Cage (1912-1992): Seven2, for Bass flute, bass clarinet, bass trombone, two percussionists (instruments not specified), violoncello and contrabass (1990). Ives Ensemble.

running time: 52:03


December 21, 2020

MUGGSY SPANIER, six 1946 recordings for “Disc” label

Filed under: Uncategorized — kendrasteinereditions @ 2:08 am



VERNON BROWN, trombone

NICK CIAZZA, tenor sax





A Am I Blue

B How Come You Do Me Like You Do

C You’re Driving Me Crazy

D Sentimental Journey

E Pee Wee Squawks

F Muggsy Special


December 20, 2020

Rick Nelson for US Savings Bonds (1971)

Filed under: Uncategorized — kendrasteinereditions @ 1:31 am

Department of the Treasury, Savings Bond Division

Four short broadcasts with RICK NELSON, hosted by Mike Douglas

February 1971


2-Easy To Be Free
3-Down Along The Bayou Country
4-Sweet Mary

December 19, 2020

Ella Mae Morse, 1954 “Here’s To Veterans” radio show

Filed under: Uncategorized — kendrasteinereditions @ 12:50 am

Ella Mae Morse.

December 18, 2020

1973 K-MART In-Store Music (2 hours)

Filed under: Uncategorized — kendrasteinereditions @ 12:38 am


December 17, 2020

Kay Starr & Count Basie, “How About This” (Paramount Records, 1968)

Filed under: Uncategorized — kendrasteinereditions @ 1:26 am

“I Get the Blues When It Rains” – 3:04
“God Bless the Child” – 3:02
“Baby Won’t You Please Come Home” – 2:48
“Ain’t No Use” – 2:46
“Keep Smiling at Trouble (Trouble’s a Bubble)” – 1:58
“If I Could Be with You” – 2:41
“My Man” – 2:46
“Hallelujah I Love Him So” – 2:59
“I Can’t Stop Loving You” – 3:07
“Goodtime Girl” – 3:00
“A Cottage for Sale” – 3:00

Kay Starr – vocals
Count Basie – piano

Al Aarons, Oscar Brashear, Gene Coe, Sonny Cohn – trumpet
Richard Boone, Steve Galloway, Grover Mitchell – trombone
Bill Hughes – bass trombone
Bobby Plater – alto saxophone, flute
Marshal Royal – alto saxophone, clarinet
Eric Dixon – tenor saxophone, flute
Eddie “Lockjaw” Davis – tenor saxophone
Charlie Fowlkes – baritone saxophone
Freddie Green – guitar
Norman Keenan – bass
Harold Jones – drums
Dick Hyman – arranger, conductor



December 16, 2020

DUANE EDDY, “Stalkin'”(Jamie 1104)

Filed under: Uncategorized — kendrasteinereditions @ 12:18 am

December 15, 2020

WAYNE TALBERT & The Melting Pot, “Dues To Pay” (1969 LP, Pulsar Records)

Filed under: Uncategorized — kendrasteinereditions @ 2:50 am

WAYNE TALBERT & The Melting Pot, “Dues To Pay” (1969 LP, Pulsar Records)

Produced by Malcolm Rebennack (aka Dr. John)

Dues to Pay6:19
What More Can I Say4:00
Schizophrenic Susan Minnick3:15
Love Ain’t What It’s Supposed to Be3:03
Hell of a World3:54
Funky Ellis Farm3:06
Cryin’ Bag3:12
The United States of Mind3:15
Total length: 33:27

Keyboardist/vocalist WAYNE TALBERT I know through his work with the early 70’s Sir Douglas Quintet (enough of a pedigree, IMHO, to make anything he did worthwhile), but he also recorded three albums for Pulsar/Mercury in the 69-70 period, and appeared on a compilation of Mercury-Smash artists called ZIG ZAG FESTIVAL.

This was his first album, produced by Dr. John, and no surprise, Talbert is a New Orleans boy (he recorded a single on a local N.O. label in 1962), although for some reason I used to think of him as a Houston artist (having worked with Huey Meaux and having an album called HOUSTON NICKEL KICKS probably led to that conclusion).

There is a long history of New Orleans musical artists going out to the West Coast to seek greener pastures, going back at least to Kid Ory circa 1920, and this album is very much what you’d expect from a Nawlins-rooted bluesy pianist-singer produced by Dr. John in L.A. There are horns and female backing vocals (and some strings), but with Mac Rebennack in the producer’s chair, you know you are in good hands.

I used to own HOUSTON NICKEL KICKS (his 3rd album, from 1970) and have heard his other album, LORD HAVE MERCY ON MY FUNKY SOUL (his 2nd album, from 1969), but DUES TO PAY was new to me, and I’m glad to make its acquaintance. There is authenticity in Talbert’s voice/persona, and the production is not unlike what Rebennack might do if he’d been asked to produce an album for Roy Brown, but to exclude remakes of Brown’s earlier material and to make it “contemporary.” Coming from me, that’s quite a compliment, though I know that some of you reading this do not enjoy second-and-third generation blues records from the late 60’s and early 70’s as much as I do. Maybe that’s due to my having seen so many artists of this type live over the years in bars and small clubs and then imagining myself there when I hear an album like this (or the Don Preston album posted here recently). There were a lot of bluesy albums in the marketplace in 1969 marketplace, so a solid and soulful collection like this probably got lost in the shuffle.

If you are so inclined today, it deserves a listen. Wayne Talbert’s music takes me to a place I like to be—-thanks to Mr. Talbert and to Dr. John. Enjoy!

Should you want a hard copy of DUES TO PAY, original copies of the LP can be found for under $10. If you enjoy, say, the post-Linn County solo album by Stephen Miller, you’re going to enjoy this too.

Barry Mahon’s ‘Santa’s Christmas Elf Named Calvin’ (1971)

Filed under: Uncategorized — kendrasteinereditions @ 1:55 am


December 14, 2020

SO THIS IS HARRIS (1933), starring Phil Harris and Walter Catlett

Filed under: Uncategorized — kendrasteinereditions @ 12:04 am


December 13, 2020

Andy Robinson, ‘Patterns of Reality’ (Philips Records LP, 1968)

Filed under: Uncategorized — kendrasteinereditions @ 12:58 am



Philips Records, 1968 (also issued in the UK)

all selections written by Andy Robinson

produced by Janis Ian

Absolutely The End
Ballad Of A Summer Girl
The Exhibition
Time For Decision
To Tell You The Truth
Are You Sleeping?
Nothing Could Be Better
Maiden Voyage
Patterns Of Reality

Robinson issued a second LP on Janus Records in 1970

December 12, 2020

Santo & Johnny, “Off Shore” (1963)

Filed under: Uncategorized — kendrasteinereditions @ 12:02 am

A1 Off Shore 2:40
A2 Stranger On The Shore 2:28
A3 Ebb Tibe 2:15
A4 Lido Beach 2:25
A5 The Enchanted Sea 2:38
A6 How Deep Is The Ocean 2:50
B1 Beyond The Sea (La Mer) 2:30
B2 Red Sails In The Sunset 3:10
B3 Midnight Beach Party 2:21
B4 Love Letters In The Sand 2:18
B5 The Wandering Sea 2:27
B6 Beyond The Reef 2:35

December 11, 2020

Miles O’Keeffe in PHANTOM RAIDERS (Philippines, 1988)

Filed under: Uncategorized — kendrasteinereditions @ 12:05 am

December 10, 2020

Austin Music Hall, 26 October 1996

Filed under: Uncategorized — kendrasteinereditions @ 12:05 am

Austin Music Hall
Austin, Texas
26 October 1996
Bob Dylan (vocal & guitar)
Bucky Baxter (pedal steel guitar & electric slide guitar)
John Jackson (guitar)
Tony Garnier (bass)
David Kemper (drums & percussion)

Crash On The Levee (Down In The Flood)
If Not For You
All Along The Watchtower
I’ll Be Your Baby Tonight
Silvio (Bob Dylan & Robert Hunter)
Mr. Tambourine Man
Masters Of War
It’s All Over Now, Baby Blue
Man Of Peace
Where Teardrops Fall
Maggie’s Farm

Like A Rolling Stone
It Ain’t Me, Babe
Rainy Day Women # 12 & 35

December 9, 2020

Guy Madison in VENGEANCE IS A COLT .45 (Italy 1967)

Filed under: Uncategorized — kendrasteinereditions @ 1:30 am

I was watching VENGEANCE IS A COLT .45 (aka SON OF DJANGO, aka RETURN OF DJANGO) this afternoon after work, and about 20 minutes into it, I took a break to make a cup of espresso and thought I’d look up the film online, a film I did not remember having seen before.

After the first few reviews on the IMDB (there are 9, presently), I stumbled across one that really impressed me, and I wondered who wrote it (I tend to know the writers who review most Spaghetti Westerns online–there are about 15-20 you tend to see on the IMDB) because it was on-target, seemed to appreciate Madison as an actor, and seemed to have a good knowledge of the respective strengths of the various actors in the Euro-western genre.

Imagine my surprise when I looked at the credit and found that I’D WRITTEN IT MYSELF, BACK IN 2003!

If you are wanting to know about the film, why not read my review, which I’d forgotten I’d written, about a film that I’d forgotten I’d ever seen!


average spaghetti western, somewhat redeemed by Guy Madison as a gunslinging priest
django-1, 12 December 2003
With two great titles (SON OF DJANGO and VENGEANCE IS A COLT 45), top-billed Guy Madison, and director Osvaldo Civirani at the helm (a man who has made quirky films in a number of genres–he sometimes misses the mark, but he takes chances), I had high hopes for this film.

The DEATH RIDES A HORSE-style opening sequence was quite exciting too, but the film that followed was a letdown. The pacing is flat, the lead character is neither interesting enough nor mysterious enough to command much attention, and Guy Madison, although top-billed, should really have been given “and with the special participation of” billing in the credits as he is essentially a guest star. Gabriele Tinti is the protagonist, and he basically stumbles from one scene to another, getting the tar knocked out of him, but not showing much of a distinctive character (Richard Harrison would provide wit as he went through such torment, Tomas Milian would spew contempt toward his tormentors, Craig Hill would command fear even after getting beaten temporarily). There are a few nicely composed shots, a few places where the music is haunting and we see Tinti riding alone, and of course Guy Madison is excellent as the gunslinging priest/minister who comes to Tinti’s aid, but isn’t exactly welcomed. This role is a bit different from Madison’s later role in Reverend Colt, a much better film.

The “climax” of the film is quite unsatisfying too–I don’t know if Tinti is to blame. Probably hurried writing and slack directing are responsible. Fortunately, AFTER the lame climax with Tinti, Madison’s is the last face we see, so at least the film left a positive image in my mind.

Although a “revenge for a murdered father” film, SON OF DJANGO features little tension and this viewer at least didn’t really care whether Tinti got his revenge. There are probably a dozen Bob Steele westerns from the 1930s with a similar plot, and nine-tenths of them as I remember pulled me into Steele’s quest for revenge. Not here.

I can recommend the film only to Guy Madison collectors–he’s fine here, although once again dubbed by someone else–and Eurowestern completists. And for the latter, I should say that this is not a BAD film, just an average one. It may well work for you, but didn’t for me.


If you’d like a taste, here is the credit sequence:

December 8, 2020

Peter Green’s Fleetwood Mac, Helsinki 1969 (& 1968)

Filed under: Uncategorized — kendrasteinereditions @ 12:53 am

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