Archive for the ‘CDs’ Category


Sunday, September 25th, 2005

JATP: Our Jazz at the Philharmonic discovery from Germany in 1956 is getting great comments–deservedly–from everyone who’s heard it. That includes the A & R department of Verve Records, by the way, even though they declined to acquire it for release. “It wouldn’t sell very well,” was their comment. We disagree and are in the midst of approaching several other outfits about it. At this moment, though, we’re the only place making it available. 

GENE AND GEORGIE: The Krupa Jazz Trio’s appearance on “The George Jessel Show” of 1954 has been mentioned several times in this space. Progress is being made on it. The first order of business is that the Library of Congress has to do a copyright search to see who–if anyone–owns this. That’s what’s happening now, and once that is finalized, it should only be a matter of weeks before we get our hands on it. 

GINGER BAKER: Many of the drummers out there are well aware that the famed rock group, The Cream,” has reformed for a reunion tour. Their three-night appearance at Madison Square Garden in New York City is eagerly anticipated by those who fondly remember Eric Clapton, Jack Bruce and drummer Baker. Baker, of course, is famed for his extended workout on Cream’s recording of “Toad,” which many percussionists believe owed a large debt to Gene Krupa. The good people at Hudson Music and yours truly have been working on a DVD project for some time, entitled “Classic Rock and Roll Drum Solos.” Obviously, Baker would have to be a part of it. We tracked down a great film of Baker doing his solo, then tracked down Baker himself. We asked his permission to use this clip in our DVD and told him how much his participation would mean to us. His reply was quite interesting. He told us he considers himself a jazz drummer and not a rock drummer, and also commented that Gene Krupa got most of his style from Baby Dodds. Baker didn’t hesitate to state that he didn’t think much of the other rock drummers who were being considered for inclusion in our DVD, and we’re talking about giants like Carl Palmer, Neil Peart, Steve Smith, Mitch Mitchell and many others. These were some of the milder comments he made. However, he did let us know about two films that were made in Europe in the early 1970s that show his jazz side: One is with Art Blakey and the other is with Elvin Jones. We’re trying to track these things down. He never did battle Buddy, though. Wonder why. 

DAVID GARIBALDI: Our friend David is one of the great innovators of “funk drumming” on the planet, known universally for his superb work with the groundbreaking group, Tower of Power. David has also been involved in percussion education for many years as a teacher at The Drummer’s Collective and Dick Grove schools, as an international clinician, and as an author of any number of award-winning drum books and instructional DVDs. He has a wonderful new book coming out courtesy of the good folks at Hudson Music, entitled “The Code of Funk.” Those interested in such things should check this out at David, by the way, is one of the contributors to our upcoming Gene Krupa book, and wrote some lovely comments about what Gene meant to him. 

“Gene Krupa: The Pictorial Life of a Jazz Legend”: The release date of this book has been pushed back a few weeks, due to some technical problems that had to do with the Alfred Publishing Company’s takeover of Warner Bros. Publications. We have been assured by the Alfred Publishing Company that the release will be in late October. 

JazzLegends Forum: Our webmaster and resident genius, Terry McKyton, thought that the concept of a “Forum” would be a valuable edition to the web site. As usual, he was correct, and we’re happy to see that more and more of you are taking advantage of it. Please do! 

Kind words: My sincere thanks for all your kind words about my mother’s health. It means the world to me. She continues to hang on–much longer and much healthier than anyone predicted– and wants very, very much to leave the convalescent home and go back to her residence. We’re working on it. God bless and keep swingin’ until next time… 

Bruce Klauber


Wednesday, August 17th, 2005

One of the first records I ever heard was the original “Perdido” from Jazz at the Philharmonic, with tenor saxophonist Flip Phillips playing his soon-to-be-legendary solo, battling it out with Illinois Jacquet, and backed up beautifully by Jo Jones on drums. If memory serves, that JATP recording was made in 1947 at Carnegie Hall, and the music writers say Flip was “forced” to repeat his set-in-stone solo, almost note-for-note, until the JATP ride ended around 1957. I was hooked from day one. I always believed that jazz should be exciting. 

Norman Granz, founder and JATP instigator, was a singular human being. He insisted that all the members of his troupe traveled first class and were treated on a first class basis all the way. He kept mainstreamers like Roy Eldridge, Lester Young and yes, Gene Krupa, in the limelight by making them stars of his tours. He mixed and matched players from different eras. As an example, a JATP front line might have included Prez, Charlie Parker and Coleman Hawkins, backed up by a rhythm section that included Oscar Peterson and Gene Krupa. I’ll never figure out why this isn’t being done today. Why isn’t there a recording, just as an example, of vibist Terry Gibbs and Gary Burton playing together? I could venture a guess, given the personality of Mr. Gary Burton, but it still should be done. 

This is why the “discovery” of our Hamburg, Germany, concert of 1956 is so important. Here, on the same stage for one of the few times in history, were Roy Eldridge, Dizzy Gillespie, Flip Phillips, Illinois Jacquet, Oscar Peterson, Ray Brown, Herb Ellis and Ella Fitzgerald. Backing all of them up from the drums? Gene Krupa. 

Gene was musically a generation behind artists like Ella and Dizzy, but he backed them up so sensitively, so thoughtfully and so happily, that the more than two hours of music presented at this show is simply a total joy to hear. Though it could be my ears playing tricks on me, I swear that Dizzy and Ella never swung harder, and never sounded as happy as they do on these tracks. An added plus, of course, is the wonderful fidelity of these shows, which likely came from a German radio broadcast. 

This is one of the few instances where I fervently believe that these programs should be released by a “major” record company. People need to hear this. If only out of loyalty (Verve did put out most of the original JATP recordings), these tracks were sent to Verve Records, where they are under consideration for future release. But as they say on T.V., “Wait…there’s more.” 

After Norman Granz sold his Verve/Clef/Norgran catalog (and what a catalog it is) to MGM in 1961, he was effectively out of the record business. He came back in a big way in 1973 with his famed Pablo label, and again started putting together all kinds of players from all kinds of eras, on record (Oscar Peterson with Count Basie, Duke Ellington with Joe Pass, et al.). The Pablo imprint, as well as Fantasy Records and several other well-known jazz record labels, is now owned by Concord Jazz. I spoke to the good people at Concord recently about our “newly discovered” JATP release. 

The good news? According to the folks in the archival department at Concord/Fantasy, there are “hundreds” of tapes of JATP concerts–both European and stateside–that sit in the vaults. This may even include the concert at hand, the Hamburg, Germany concert of February, 1956. And more good news is that this archival material may include more unreleased drum battles between Krupa and Rich, Krupa and Bellson, Bellson and Rich, J.C. Heard and Krupa, Jo Jones and Rich, and who knows what else. 

The bad news? We were told, in no uncertain terms, that most of this material will remain unreleased, due to the costs involved of clearing the rights with the surviving artists, the estates of the artists, etc. Concord/Fantasy/Pablo will put one of these things out from time to time (their most recent release being an “unknown” JATP concert that featured Fats Navarro and Shelly Manne), but we were told, point blank, that “it’s just not worth the expense and the trouble.” 

We did, however, get a promise that we would be informed of all of the undocumented JATP drum battles. At least that’s something. 

If I had to pick two “must haves” from, it would have to be the “Championship Jazz” DVD of Gene, and these JATP shows. I urge you to get them. I don’t know how long we will be able to carry them. 

And in terms of “special” and “singular,” stay tuned for more news about The Gene Krupa Jazz Trio’s television performance on the “Georgie Jessell Show” of 1954. Certainly, this will be something. 

Finally, my thanks to all of you for your good wishes, thoughts and prayers about my mother, Frances Klauber. She is hanging in there, and just sang the other day with a visiting pianist who was entertaining at the Bryn Mawr Terrace Convalescent Home. She called me the next day complaining about his time. 

We should all live so long…and have good time!!! 

God bless and keep swingin’ 

Bruce Klauber


Tuesday, May 10th, 2005

There’s no rhyme or reason to Verve Records’ reissue program, especially when it comes to Gene Krupa. It often seems, in fact, that Gene really gets the short end of the stick (pardon the pun) when it comes to putting out vintage product on CD. As an example, the famed “Big Noise From Winnetka” CD is available only as an import, as are the “Sextet Sessions” compilations. Basically, only “Krupa and Rich” and the “Original Drum Battle” are commonly available, and none of these projects have any unissued or alternate takes, and no one even bothered to write a set of updated linear notes. Many of us remember when the “Original Drum Battle” was released on CD, and we had all hoped for a bunch of additional, unissued material. Other than restoring Ella Fitzgerald’s vocal on “Perdido,” there was nothing else new. 

“Gene Krupa Plays Gerry Mulligan Arrangements” is no exception. Recorded in 1958 with an all-star group that included Phil Woods, Hank Jones, Kai Winding, Urbie Green and many more, the recording received four stars from Down Beat magazine when it was reviewed in 1959. It was and it is superb, albeit not particularly inspiring. Mulligan’s charts, most written in 1946, held up when this was recorded and for the most part still hold up today. Though a couple of the songs could have used another take or so, it is generally well done. Gene is not really featured on this date, other than for a few breaks here and there, and you can hear that he’s really devoted to playing Mulligan’s charts properly. The charts are the star on this recording, and as a matter of fact, Mulligan actually conducted four of the twelve tunes on this outing. The other “star,” if there was one, was alto saxophonist Phil Woods’ playing. Every Woods’ solo is an absolute gem. The stereo sound, by the way, is fabulous, and you can really hear everything that was going on. 

What is terribly disappointing, though, is the lack of out takes, alternate takes, updated notes or any “extras” that we’ve come to expect from CD reissues. Although most of the Krupa discographers only list the master takes to this session, there simply had to be others during the course of these two recording dates. It is unlikely that every thing else, other than the masters, was destroyed. Most of the other artists who are the subject of Verve reissues, including Tal Farlow, Count Basie and many others, get the “full treatment.” Why not Gene? It makes one wonder why they put this thing out at all. 

“Gene Krupa Plays Gerry Mulligan Arrangements,” in terms of sound, is a 96KHG, 24-bit digital transfer. I’m not sure what that means, other than to report to you that the sound is great. Verve Records, now owned by an outfit called the Universal Music Company, informs that this CD will only be available until March, 2008. Presumably, that makes it a “limited edition,” which is another thing I can’t figure out. 

If any of our good supporters out there are having a problem finding this, let us know and I’ll make sure you get a copy. You should have it. I only wish there were more of it. 

Keep swingin’ 

Bruce Klauber

JazzLegends Update

Monday, April 25th, 2005

“Gene Krupa: The Pictorial Life of a Jazz Legend” is now in the final proofreading stages and we hope to have word any moment from Warner Bros. Publications. One of the reasons for delay on this and several other Warners’ products is because this division of WB was just sold to the Alfred Publishing Company. When the dust settles, which should be soon, Warners/Alfred plans to resume their full slate of video/DVD productions. The good news is that in addition to our extensive work for Hudson Music, we will be doing some rather special DVD projects with Warners/Alfred, including the possibility of a commercial release, with added footage, of the famed “Championship Jazz” television pilot with Gene Krupa and The Dukes of Dixieland, now available from us on “The Champ.” 

“Lionel Hampton:King of the Vibes,” our upcoming DVD tribute to the vibes president, will be released within the coming weeks by Hudson Music, and we will also make it available here. As previously mentioned, this is the first such project devoted solely to Hamp, and features footage through seven decades of swinging. We’re proud that our narrators are mallet legend Mike Mainieri, and in the section focusing on Hamp’s drumming, the one and only Steve Smith. 

Our good colleague Paul Testa has come up with another real “find” that we will be offering here very shortly. In 1968, Benny Goodman hosted a gala that celebrated the 30th anniversary of the legendary Carnegie Hall Jazz Concert. Many of the surviving players, including Gene, were in attendance that night and there was much media coverage of it. Paul has discovered many of the interviews done for radio broadcast that night, coupled with excerpts from the Carnegie Hall Concert itself. There was also a lot of jamming that went on that evening and we hope to be able to offer that on CD as well. 

Most all of our regular visitors are aware that we are now offering all of our VHS videos on DVD, in the DVD-R format. Please keep in mind, however, that we will continue to issue everything on VHS as well as DVD. 

Those net surfers out there know very well that Google is about the number one search engine out there, and that’s probably because they are about the best. Among the great programs they offer for those who have web sites like ours is called the “Google Ad Sense” program. This program automatically generates small ads that are appropriate to the page or pages surfers are viewing. In other words, on our pages that feature Gene Krupa merchandise, you’re likely to see ads for downloadable Krupa tunes, for Krupa items on e-bay, etc. Clicking on these ads, and there are many of them on most of our pages, really do help support us. No, no one has to buy anything. Just clicking on them helps keep us going, and who knows what other great stuff you might find? 

Finally, please feel free at any time to ask us for something on CD, books, video or DVD that you might be looking for. We have many, many items that are not listed on the site and we do, by the way, have access to pretty much everything by most of the drumming greats. That includes, by the way, the famed Tony Williams project that was very briefly issued on laser disc in Japan in the 1980s. Take advantage of this and please e-mail us at 

In an interesting piece of business, we have found that the domain name––is among the most valuable of its kind in the marketplace. Indeed, it’s “the only name to have in jazz.” We are considering changing the name of this site at some juncture to (or dot org or dot biz), so if anyone out there knows anyone who would be interested in one of the great domain names of all time––let us know. 

Let us take this opportunity to thank our customers, friends and supporters for your continued kind words, encouragement, and of course, your orders. We hope, pray and trust that you will continue to keep us going. 

God bless and keep swingin’ 

Bruce Klauber

Buddy’s Bop

Thursday, February 10th, 2005

Lest you believe that there are no drummers other than Gene Krupa, it is appropriate that we occasionally look at the artistry of other percussionists if only because some of them are featured on these pages. Buddy Rich has been a hero and an idol to many of us, regardless of our age or level of talent, and there’s a good reason for that. To these ears, Buddy Rich was, is and will always be the greatest drummer who ever lived. Like many of you, I saw him in person hundreds of times and probably have every record he ever recorded and almost every piece of video and film with his image on it. Technically, he was simply inhuman. More importantly, though, with rare exception, he swung like mad and drove and spurred on players to play way above themselves. And this happened in a wide, wide variety of circumstances, from his own big band to the Tatum/Hampton/Rich trios. 

Still, through the years, he wasn’t always the darling of critics. “Too loud,” “too heavy,” “no taste,” were some of the comments offered through the years by the music writers. One fellow went as far as to liken Buddy’s drumming to “a Las Vegas act.” Most of those opinions and quotations have been long forgotten. But there is one set of criticisms that won’t go away, and that concerns Buddy Rich’s participation in a legendary recording session. “Bird and Diz” was recorded on June 6, 1950 in New York city for Norman Granz’ Clef label, and featured a dream lineup of Dizzy Gillespie, Charlie Parker, Thelonious Monk (the only time Monk ever recorded with Diz and Bird), bassist Curly Russell and Buddy on drums. 

Some of the comments about Rich’s drumming on this session ranged from the mild, with terms like “stylistically inappropriate,” to the downright mean. One writer accused Buddy of trying to “sabotage” the session, and another went a step further by saying Rich’s sounded like “a refugee from a drum and bugle corp” on this date. 

Now a compact disc with many, many alternate takes and false starts; “Bird and Diz” remains very much in print and continues to be reissued from time to time. This recording, in LP form, was among my absolute favorites through the years, and I’ve just pulled it out again for yet another careful listen. 

The truth of the matter is that, yes, maybe Roy Haynes, Max Roach or Stan Levey would have been more “stylistically appropriate” for this recording, but Buddy’s presence makes it so much more interesting. Leave it to Norman Granz to mix all the different styles and “see what comes out.” It’s a shame that’s not done more today. 

Buddy’s bop? It’s common knowledge that Buddy wasn’t thrilled with bop or bop drummers initially (Mel Torme’ said that Rich called them “fumferers”), but he dealt with his share of boppers in his own early bands, which included players like Alan Eager, Terry Gibbs and Johnny Mandel. Whether he liked it personally or not, he was certainly listening to bop, and it’s clear that the assimilated some of the language of it, at least those parts of it that he felt comfortable with and fit in with what he was doing. And in terms of being able to “hear” what was going on musically, however progressive it may have been at the time, it is important to remember that Buddy Rich could “hear” virtually anything. 

The fact is, Buddy Rich sounds great on “Bird and Diz.” Rhythmically grounded in the swing era though he may have been, he accompanies beautifully, is dynamically sensitive to Monk, and really inspires Dizzy. Buddy’s dropping some bass drum bombs here and there and his left hand, as always, interacts between his right foot for some very tasty independence. His breaks and solos are models of perfect time and of the Buddy Rich style, some of them even sounding closer to Gene than Buddy. Buddy, naturally, always had that bass drum going, and it that’s considered the swing style and stylistically inappropriate, so be it. I think it swings like mad, and to hear Buddy Rich on closed hi-hats, gently backing up Thelonious Monk is an example of why the best of jazz is, indeed, “the sound of surprise.” 

Rich’s drums were never that well recorded on his many 1950 Verve/Clef/Norgran dates, and his sound tended to vary from recording to recording. On “Bird and Diz,” the drum and cymbal sound isn’t great, which may have led some of these music writers to hear things they weren’t really hearing. Then, too, we must remember that this was 1950, long before the advent of high fidelity. Some of the problems, false starts and breakdowns on this recording were attributed to Rich. But listen carefully to what’s going on in the studio. Monk and Dizzy have their share of problems, and Curly Russell, though a good bassist who played on hundreds of bop sessions, is clearly no Charlie Mingus or Ray Brown in a rhythmic or tonal sense. If Buddy Rich exploded here and there on this record, I’d say it was because of frustration. And no, in 1950 he was not fully comfortable with the be-bop language, but he was getting there. Remember that be-bop drummer he met on record in 1959? And remember the outcome? 

Take a listen to “Bird and Diz” again. It’s as joyful as hearing Gene Krupa backing up Dizzy Gillespie, Red Norvo accompanying Charlie Parker, or Sonny Rollins meeting Coleman Hawkins in the recording studio. As for me, I’m now listening to Buddy Rich’s explosive four-bar breaks on take seven of “Leap Frog.”

State of the Art Audio, 1953, or “How and Why we Burn”

Saturday, January 22nd, 2005

Most of the letters and emails we have received over the years thank us for making this material available. Many of those notes, by the way, have been sent to us by Gene’s friends, family and personal and professional associates. Nothing could make us happier. The goal of is, simply, to make this material available. 

On the other hand, since we’ve been at this, we have received about a good half-dozen complaints from customers who are not satisfied with the audio quality of some of our titles. “This sounds like it was taken from an LP record that is 50 years old,” read one e-mail. Well, in many cases, that’s because it was. 

This specifically applies to our “private edition/limited circulation” LP titles from the 1950s-1960s. We will be right behind you in line at Tower Records, or wherever, to purchase “Burnin’ Beat,” “Great New Quartet,” “The Gene Krupa Story” and the rest, when they are issued commercially released on Compact Disc, and are digitally remastered complete with alternate takes, unissued takes, etc. Until then, just in order to make this material available, we have transferred the original LPs to Compact Disc (in many cases along with additional material), with all the squeaks, pops and surface noise we know and love. Yes, it will sound like a 40-year-old LP. A lot of folks think that’s actually a pretty pleasant sound. 

Regarding the practice of remastering and digitizing, presumably most of you eagerly anticipated, like I did, the “Live at the Inn Club” CD with Gene, Eddie Shu, Dave McKenna and John Drew. This had been listed in Gene’s discography as a “stereo recording” for years, and all of us just couldn’t wait to hear it. What was done to it was a disgrace. It was digitized beyond any musical sensibility at all, which is when we decided to make our transfers without any digital interference. And again, those of you who expect 2005, state-of-the-art digitized sound should look elsewhere. 

Finally, whenever one or more of these titles become commercially available–“The Drum Battle” and “Krupa and Rich” for example–we remove it from our listings. Everyone who listens to Gene and appreciates his music is entitled to the best quality available. If we’re offering something at, though it may not be state-of-the-art, you can presume we list it because it comes from the best–or only–source material available. If we don’t offer it, that’s because there are better sources elsewhere…or like the “video of the 1938 Carnegie Hall Jazz Concert,” it just doesn’t exist. 

Keep swingin, 

Bruce Klauber


Monday, September 20th, 2004

Visitors to this site over the past several months have certainly noticed some changes. We know they are for the better. has never looked better, it approaches “state of the art” but in many ways remains simple to use. Our resident genius, Terry McKyton, is responsible for all the artistry on these pages. As The Stooges would have said, “He’s the best web designer whoever web designed.” I urge each and every one of you in the musical community to get in touch with Terry. He will, without doubt, take care of business in your behalf, no matter how simple or complex. 

New products and/or “discoveries” are being added regularly, not only by Gene Krupa, but from those associated with him through the years like Jo Jones, Charlie Ventura, Anita O’Day, Eddie Shu, and various others. We hope to expand in this area as time goes on with product by other drummers–look for some Cozy Cole soon–and other instrumentalists. Gene was a great, great talent scout. Let’s remember all those he started over the years, from Anita O’Day and Charlie Ventura to Bobby Scott and Dave Frishberg. At the same time, we’re always on the lookout for “rare finds” by Gene. 

A great example of this, and how difficult it can be to actually get something out to the marketplace, is something we’re currently working on. This discovery comes to us from the great drummer, great friend and researcher extraordinaire, Las Vegas’ own Paul Testa. Paul discovered the actual existence of an unaired television pilot from 1962, entitled “Championship Jazz.” Years ahead of its time in terms of “reality television,” the program planned to pit two jazz groups against each other, with the winner receiving a cash prize. This pilot, hosted by the Voice of America’s Willis Conover, featured–are you ready for this one?–The Dukes of Dixieland versus The Gene Krupa Quartet. Wow! Getting a copy of this “find,” isn’t that easy, however. In order to release a copy, the archive in which it is located requires written permission from the copyright holder, or, if it is not copyrighted, written proof from the Library of Congress that it was indeed never copyrighted. This is a time consuming, frustrating and expensive task from this end. Even though has done much on behalf of the Krupa Estate over the years, and even though we do have written permission and blessings of the good folks who own the “name” The Dukes of Dixieland, that is still not enough. We know about proper channels and respect them. Rest assured that this “Championship Jazz” program will see the light of day on this web site. 

In other news for the fall season, look for an upcoming Hudson Music release of a “Tribute to Steve Gadd” DVD. This tremendous program is not only a docu about Gadd’s life and many accomplishments, but a presentation of the live show that took place last September at the Berklee School in Boston, sponsored by Zildjian, with Bill Cosby, Paul Simon, James Taylor, Vinnie Coliuta, David Sanborn, and many, many more. I am proud to have been associated with this remarkable drummer and what I know is a remarkable production. That evening was an unforgettable one, and getting to “hang” with Louis Bellson, Steve Smith, Freddie Gruber, and especially Elvin Jones, was an evening I’ll cherish forever. Elvin Jones will be missed by all of us. In the course of musical history, few artists could be called true innovators. Elvin could. One of our great sponsors, Drum Radio, has a wonderful Elvin Tribute on the web site. Please tune in. 

Also in the works is a Hudson Music “Tribute to Lionel Hampton” DVD, to be narrated by vibist Mike Mainieri and the “world’s greatest drummer,” Steve Smith. Fortunately for us, there’s a lot of great Hampton footage out there, and we will be able to present film from the 1930s, 1940s, 1950s, 1960s, 1970s, 1980s, and yes, the 1990s. We look forward to working with Mike Mainieri on this project. Mike, of course, was the vibist with Buddy Rich’s great small group of the late 1950s and early 1960s. Though he virtually pioneered what we now know as “fusion,” Mike could outswing just about anyone when he wanted to. 

Those of our supporters who have chosen to order with their credit card on the web by using PayPal, have noticed that the system has finally become very, very simple to use. No one has to join PayPal or sign up for anything in order to buy products with your credit card. Safety? In five years of using this system, has never, ever had a problem. 

Please let us know what you’d like to see on this site in terms of products you’re looking for, suggestions for ease of use, or any thing else you may have on your mind. Contacting us via e-mail is easy and we respond to each and every question or comment. Note that if you don’t see a certain CD or video by Gene, Buddy or someone else on the web site, that doesn’t mean we don’t have it. Chances are we do. Just ask. 

Bruce Klauber


Monday, April 12th, 2004

Since the publication of our book in 1990, “World of Gene Krupa,” there has been an unparalleled resurgence in interest in the life and music of “that ace drummer man.” Thankfully, the marketplace is filled with CD reissues, videos and dvds on Gene and other great drummers in jazz history, web sites, books, posters, tee-shirts, and more than a few Krupa “sound-alike” drummers and tribute bands. Finally, the jazz history books have properly acknowledged Gene’s contribution to drums, drumming and to jazz. 

Though he died at the rather young age of 64, in 1973, Gene had a long and glorious recording career that began in the late 1920s and continued right up until 1973. That’s six decades. Unfortunately, most of the better, commercially issued recordings have long been out-of-print. Aside from a couple of foreign and domestic reissues through the years, it appears that most of them will remain out-of-print. One of our goals at is to ensure that those old LPs from the 1950s and 1960s live on. We like to think we have fulfilled that part of our mission, via the transfer to CD of rarities like “Driving Gene,” “Hey Here’s Gene Krupa,” “Great New Quartet” and all the others. 

There’s another significant part to what we do here: As jazz players and jazz fans know, often the best music is made outside of the recording studio. That’s why we’ve devoted so much time and energy to tracking down Gene’s radio and television appearances, live concerts and projects done for the overseas market. We strongly urge you to check out our newest discoveries, highlighted by something called “So Rare.” Even the folks here at can’t believe some of the tracks on this CD. 

We apply same philosophy to our VHS videos. Gene’s films and film appearances were wonderfully entertaining. Sadly, they will likely never be released commercially and are rarely shown on television. We won’t let them disappear. Our “Raw Footage” tapes are a great complement to the full-length films, and offer glimpses of Gene in rehearsal, being interviewed, on television and in rare film shorts. 

Please note that our pricing policy has changed, and is undoubtedly the most reasonable price structure in the business. Collectors have long been paying hundreds and thousands for material like this over the years. Our prices? All CDs and books are $15. All videos are $30. Shipping is free worldwide. That’s it. 

In the news department, we have received word that “The Gene Krupa Story” will be released to DVD on or about May 18th. Don’t ask why, but there are no extras on the DVD. They could have come to us: The famed “Jammin’ With Gene” promo short with Sal Mineo is on our “Gene Krupa: Jazz Legend” video. The original theatrical trailer to “The Gene Krupa Story” is on our video “Classic Drum Solos and Drum Battles.” And we also have Gene’s appearance with Sal, promoting the film, on a 1958 “I’ve Got A Secret” tv show. In the not-too-distant future, perhaps we will put all these “promo” pieces on one video. 

We’re also told that a CD reissue is on its way in the form of the great, “Gene Krupa Plays Gerry Mulligan Arrangements” recording. No word about alternate takes yet, though most of these reissues seem to be straight transfers of what was on the original LP. Note that whenever a title is issued commercially, we do take it out of our catalog. 

As many of you know, by way of my longtime affiliation with Hudson Music, I’ve gotten the chance to work with drummer extraordinaire, Steve Smith, rather closely on a number of projects. I will tell you, unequivocally, that there is no better drummer than Steve out there, and that if he’s appearing in your neck of the woods with Buddies’ Buddies, Vital Information or in a clinic or master class, just go and see him. You will be astounded. 

On a more personal basis, I will hopefully be doing some classes and a film presentation called “The History of Jazz Drumming on Film” in tandem with Steve–and solo–in the not-to-distant future. Check this space for details. By the way, Steve Smith, as well as Gene, Buddy and all of the past, present and future legends of jazz drumming (including yours truly!) use Zildjian Cymbals. They were, are and will always be “the only serious choice.” 

We intend to use this space to let you know about updates, new products, and things we’re working on. And please tell us what you’re looking for and what you’d like to see. We’re here for you 

Bruce H. Klauber, D., Mus.