LP-754

Illinois Jacquet – Spectrum

Released 1965

Recording and Session Information

Russell Jacquet, trumpet; Illinois Jacquet, tenor saxophone; Patti Bown, piano; George Duvivier, bass; Grady Tate, drums; Candido Camero, conga drum
RCA Recording Studios, New York, April 29 1965

13905 Big Music
13906 Black Foot
13907 Blues for Bunny
13908 Blue Horizon

Ernie Royal, Jimmy Nottingham, trumpet; Illinois Jacquet, Buddy Lucas, tenor saxophone; Haywood Henry, baritone saxophone; Ed Stoute, piano; Billy Butler, Eric Gale, guitar; Leonard Gaskin, bass; Herbie Lovelle (d) Bert Keyes arr,conductor
RCA Recording Studios, New York, April 30 1965

13909 Goin' out of my head
13910 Spanish boots
13911 Elise
13912 I remember her so well
13913 Now and them

Track Listing

Goin' Out Of My Head	Randazzo / Weinstein	April 29 1965
Spanish Boots	Don Menza	April 29 1965
Elise	Michel LeGrand	April 29 1965
I Remember Her So Well	Halletz / Coburn / English	April 29 1965
Now And Then	Ortolani / Newell	April 30 1965
Blues For Bunny	Russell Jacquet	April 30 1965
Black Foot	Russell Jacquet	April 30 1965
Big Music	Illinois Jacquet	April 30 1965
Blue Horizon	Edwin Stoute	April 30 1965

Liner Notes

JAZZ IS A MAN AND HIS HORN. Jazz is a man like Illinois Jacquet. This giant of a musician has traveled many roads, exploring and forming never-to-be-forgotten sounds.

When I look back to the early forties, I recall the sounds of Lester Young, Don Byas, Chu Berry, Ben Webster and Illinois Jacquet. Then, if I move my musical calendar forward in time, my memory fills with the names of Stan Getz, John Coltrane, Allen Eager, Flip Phillips, Gene Ammons, et al. And Illinois Jacquet's name still holds strong. The man and his music moved with the times. Today, as well as yesterday, the Jacquet style, the Jacquet tone, is an oasis of jazz.

In this album you get "spectrum" of music, music contemporary with the demands of today's record buying public. On my all-night show in Miami Beach, the listeners want sounds with a beat, a Latin sound and pretty music. The young set who grew up on rock and roll now dig jazz, but they need to feel a beat. This album caters to the basic needs of a cross-section of the American jazz public.

The five tunes on side one were all arranged by Bert Keyes — one of the top Rhythm and Blues arrangers in New York City. Bert's charts always emphasize strong rhythm and in these the beat is cooking throughout. The tunes on this side were chosen from a variety of bags. "Goin' Out Of My Head" was a big R&B hit for Little Anthony and the Imperials; "Spanish Boots" is a jazz composition of compelling force, and the other three compositions are from recent movies. Jacquet's robust tenor sax makes every track a personal triumph — now playing the melody straight, now weaving around and through the chord structure of a piece with tasty inventions.

Side two is more conventional — at least as far as instrumentation is concerned. Here, Illinois and his trumpeter brother, Russell, collaborate with a really broiling rhythm section. Patti Bown on piano, George Duvivier on bass, drummer Grady Tate, and conga drummer Candido lay down such a groovy foundation that you'd have to have advanced rigor mortis not to feel the excitement.

Russell Jacquet has worked in his brother's bands off and on since the forties, but now they live in opposite parts of the Country — Illinois in New York, and Russell alternating between Texas and Calitornia. Russell flew to New York specially for the session and it was swinging reunion.

Patti Bown. a young lady who plays a whole lot of piano keyboard, shares the solo space with Illinois and Russell and she makes sparks fly.

But Illinois Jacquet is the star. He is all "pro" and his horn is an instrument for creating musical joy. SPECTRUM is Illinois' fourth ARGO album; each has presented him in a different setting and he's come through like a champ each time.

—ALAN ROCK
THE ONLY JAZZ VOICE
WMBM AM & FM
MIAMI HEACH, FLORIDA

LP-746

Illinois Jacquet - Bosses of the Ballad

Released 1964

Recording and Session Information

Illinois Jacquet, tenor saxophone; 18 strings, woodwinds, harp, french horns and rhythm, Benny Golson, Tom McIntosh, arranger
Regent Sound Studios, New York City, October 29 + 30 1964

13521 Begin the beguine
13522 All through the night
13523 Use your imagination
13524 It's all right with me
13525 Do I love you?
13526 I've got you under my skin
13527 So in love
13528 Get out of town
13529 I love you
13530 I concentrate on you
13531 You do something to me
13532 Every time we say goodbye

Track Listing

I Love You	Cole Porter	October 29 + 30 1964
Get Out Of Town	Cole Porter	October 29 + 30 1964
So In Love	Cole Porter	October 29 + 30 1964
I Concentrate On You	Cole Porter	October 29 + 30 1964
You Do Something To Me	Cole Porter	October 29 + 30 1964
Everytime We Say Goodbye	Cole Porter	October 29 + 30 1964
Use Your Imagination	Cole Porter	October 29 + 30 1964
All Through The Night	Cole Porter	October 29 + 30 1964
Begin The Beguine	Cole Porter	October 29 + 30 1964
It's All Right With Me	Cole Porter	October 29 + 30 1964
Do I Love You	Cole Porter	October 29 + 30 1964
I've Got You Under My Skin	Cole Porter	October 29 + 30 1964

Liner Notes

COLE PORTER'S fabulous talent has left an indelible effect on the American popular music and musical comedy scene. Yet the use of his enormous output by jazz artists has been curiously limited. Tentative explanations for this neglrct have not been convincing. One of these, offered by one of the most discerning avd productive jazzmen, might offer a clue to the mystery. "Cole Porter", he said, "was a tremendous composer, but his tunes were written mainly for use in the theater. His melodic lines were unusually long, and perhaps this fact discouraged jazz musicians from making greater use of them." Whatever the reason may be, the fact is that except for a handful of Cole Porter compositions, his repertoire has been largely ignored by jazz instrumentalists. This album proves conclusively that there was no musically valid reason for this omission.

ILLINOIS JACQUET is an accomplished ballad interpreter in his own right, but never before has he recorded so many ballads at one time. He has recorced ballads before, but not more than one or two in an album. During night club engagements he sprinkles his ballads gingerly, one or so to every half dozen tunes. Nevertheless, some of his most successful recordings have been ballad tunes. During the early 1940' Illinois scored strongly with a particularly exquisite recording of the ballad "I Don't Sand A Ghost Of A Chance With You". This was followed by "Memories Of You", recorded after gruelling, though commercially-rewarding tours of duty with the Lionel Hampton and Cab Calloway bands. In the 1964 Argo album "DESERT WINDS", he included the ballad "You're My Thrill" in a poignant performance.

Jacquet, one of the most disciplined and self-demanding of musicians, has given deep thought and study to the ballad. "The ballad is the most demanding test of jazz performers", he believes. "Musicians playing ballads require an exceptional ear. The instrumentalist must possess a full, rich tonal quality that comes only after long training. When I play a ballad, I approach it the way a singer would. I read the lyrics over and over, and then I try to interpret their meaning through my instrument: Jacquet regards this album as a significant departure from the norm for him. "The ballad soothes the heart when properly played", he explains. "It is supposed to induce romance. And there is a great need for peace in our world, and for love."

Illinois Jacquet was 16 years old, and playing spiritedly, though not with his present brilliance and maturity, in the orchestra of the all-Negro Phyllis Wheatley High School in Houston, Texas, when he first made musical contact with the genius of Cole Porter. Jacquet was then playing a B flat soprano saxophone, and also first alto, in the orchestra's reed section. He admired Cole Porter in his youth as a prolific compose€ and a rare musical talent. "Cole Porter was a master of the ballad form", he says. "His music is melodically exciting and moving. He felt his melodies. Porter's music conveyed tremendous feeling. I knew the man, Cole Porter, only through his tnusic, but it was a warm, close, and fascinating friendship."

Cole Porter had won world fame as a composer and lyricist long before his death. Porter lived a life of alrnost baroque elegance, made possible by inherited wealth, and had cultivated expensive tastes. Music to him was more a hobby, and an outlet for his enormous creative energies, than a means of livelihood. He wrote sumptuous scores for numerous Broadway musicals and films, and his tunes were hummed and sung by millions. Between World Wars 1 and 2, he gravitated gaily between America and Europe, consorting with a slick, super-charged international set which was addicted to a glossy high life. In those free and frivolous, but highly productive years, his hone base was mainly Paris — where he maintained a luxurious home on the teaming and tumultuous Left Bank. In 1919. he settled in Paris with his new wife. Although Paris, the French Riviera, and Venice were his favorite playgrounds, all Europe was his territory and he explored it in exotic fashion. Many of his most famous songs, which breathe America so intimately, were actually written in places like Paris, Rome, or on a yacht cruising up the Rhine. Porter was a fabulous gourmet with an enormous zest for life, and did not permit his appallingly active social schedule to blunt his creative process.

Porter was admired for his craftsmanship by the most distinguished writers of his time. Perhaps the greatest praise of all came from Richard Rodgers, who said: "Few people realize how architectually excellent his music is. There's a foundation, a structure, and an embellishment. Then you add the emotion he's put in, and the result is Cole Porter."

Born on a farm in Peru, Indiana, Porter played the violin at six, the piano at eight, and when he was ten composed his first published song, "The Bobolink Waltz". He was educated at the fashionable Worchester Academy in Massachusetts, at Yale, and at Harvard, where he studied both law and music. Porter's life differed from that of most American composers in that he never had to face the bitter battle to earn a living from his music. A wealthy family solved that problem for him. His father, Samuel Fenwick Porter, was a prosperous fruit grower, and his maternal grandfather, J. O. Cole, had struck it rich in the lumber business. After college, Porter devoted himself somewhat arrogantly to a life of ease, elegance, pleasure and casual musical creation.

He was a master of the ballad form which he employed delightfully — both musically and ivrically. His scores for Broadway musicals are studded with some of the greatest hits in musical history. The ballads which comprise this album are played with imagination and taste. All were written for a series of Broadway shows beginning in 1928 with "PARIS", (which was really a play with music) and concluding in 1955 with "SILK STOCKINGS". In the intervening years, Cole Porter wrote scores for such musicals as "FIFTY MILLION FRENCHMEN" (1929), "THE NEW YORKERS" (1930), "WAKE UP AND DREAM" (1929), "ANYTHING GOES" (1934), "JUBILEE" (1933), "RED, HOT AND BLUE" (1936), "LEAVE IT TO ME" (1938), "DUBARRY WAS A LADY" (1939), "PANAMA HATTIE" (1940). "SOMETHING FOR THE BOYS" (1943), "MEXICAN HAYRIDE' (1944), "KISS ME KATE" (a 1948 musical interpretation of Shakespeare's Taming Of The Shrew". which was his most stunning commercial triumph) "CAN-CAN" (1953) and "SILK STOCKINGS" (1957) which closed an astonishing career of writing brilliant scores for musical comedies.

Pain darkened and saddened Cole Porter's last years. Crippled, as a result of a riding accident in 1937, he underwent thirty operations in twenty years, culminating in the amputation of his right leg in 1938. What once was a life of hectic pleasure, changed to a harsh and physically miserable existence. He withdrew from the world of fun and excitement he had loved so much. When Porter died at the age of 72, (on October 15, 1964) Esmond Edwards of Argo Records, a long-time Cole Porter admirer, decided that one significant way to memorialize Porter would be to have his works interpreted by a jazz artist of stature. Illinois Jacquet, one of the acknowledged 'bosses" of the tenor saxophone, was selected to explore a series of Cole Porter ballads. This album represents the musical summation of Jacquet's findings.

One final word of admiring acknowledgement is in order for two gifted orchestrators responsible for the arrangements. Benny Golson arranged and conducted "GET OUT OF TOWN", "SO IN LOVE", "I CONCENTRATE ON YOU", "EVERYTIME WE SAY GOODBYE", "ALL THROUGH THE NIGHT", "IT'S ALL RIGHT WITH ME" and "DO I LOVE YOU". Tom McIntosh, the brilliant trombonist-arranger, orchestrated and conducted "I LOVE YOU', "I'VE GOT YOU UNDER MY SKIN", "YOU DO SOMETHING TO ME", "BEGIN THE BEGUINE" and "USE YOUR IMAGINATION'.

Tempos range from the slow and subdued, to the lively and exuberant. Jacquet continually weaves lush tapestries on the melodic structures created by Cole Porter. His interpretations are richly evocative of the composer, and form a sentimental man whose life has become a fable of our times.

ALLAN MORRISON
New York Editor
EBONY MAGAZINE

LP-735

Illinois Jacquet – Desert Winds

Released 1964

Recording and Session Information

Illinois Jacquet, alto, tenor saxophone; Tommy Flanagan, piano; Kenny Burrell, guitar; Wendell Marshall, bass; Ray Lucas, drums; Willie Rodriguez, percussion
RVG, Englewood, New York, February 13 1964

13006 Star eyes
13007 Blues for the early bird
13008 Canadian sunset
13009 When my dreamboat comes home
13010 Lester leaps in
13011 You're my thrill
13012 Desert winds

Track Listing

When My Dreamboat Comes Home	Dave Franklin & Cliff Friend	February 13 1964
Desert Winds	Esmond Edwards	February 13 1964
Star Eyes	Don Raye & Gene DePaul	February 13 1964
Blues For The Early Bird	Illinois Jacquet	February 13 1964
Lester Leaps In	Lester Young	February 13 1964
You're My Thrill	Ned Washington & Burton Lane	February 13 1964
Canadian Sunset	Eddie Heywood	February 13 1964

Liner Notes

I HAD never met Illinois Jacquet prior to this recording session, though I have been an admirer of his tenor saxophone sound for years. Please allow me to introduce you to the men involved in the production of this album and allow me to take you to the session with me.

You are holding the product of many years of experience in a number of different fields, all closely related, in that each is necessary for the production of record albums in general and this album in particular.

The talents of the recording engineer are very necessary in the production of the final product and Rudy Van Gelder is one of the best. Rudy's studio is located in New Jersey, just across the George Washington Bridge from New York City. The setting of the studio is suburban and from the reports of musicians, very conducive to musical creation.

Illinois Jacquet gives the first impression of being in command, of himself his music and hence, the situation at hand — the making of a record. My first impression was proven by the events of the afternoon. Illinois does all things in a relaxed, confident way, born of long experience and great ability. The experience has been gathered from working in the bands of Basie and Hampton and leading various small groups of his own. With the Hampton band, Illinois became very well known for his solos on Flyin' Home and his section work with both bands was fine. That he has benefited from all this is evident in the 1964 sound of Illinois Jacquet.

The actual recording session took a while to get going. By this I mean not the actual playing but "going" in a cooking sense. Rapport must be established between the musicians involved, because these men do not work together in a regular group. It takes some time to get the "feel" of the ideas each man wishes to contribute. The last Illinois Jacquet recording (Argo LP-722) has some of the same personnel but a change of only one man changes the complexton of the album.

Willie Rodriquez, besides being a latin percussionist, is a very funny man. Upon examining Willie's very barren head, I complained of the glare. To this Willie explained that he would have worn his toupee but it would have altered the studio accoustics.

The first tune of the album, When My Dreamboat Comes Home, was made for Illinois Jacquet or did he make the tune into his own? Upon reflection coupled with listening, I feel that the latter supposition is more valid. The tempo is sort of jog-along and Jacquet fits perfectly into the rhythmic slot provided by the rhythm section; with Ray Lucas and Wendall Marshall supplying a really sturdy beat as they do throughout the album. Kenny Burrell follows the opening Jacquet solo with one of his own. Kenny is tall and lean and plays guitar in a style befitting his stature. He sort of lopes along with long phrases and ideas. Tommy Flanagan follows, tasteful as ever.

Desert Winds opens with a theme statement by Illinois and Kenny Burrell, followed by a tenor solo, but not just any tenor solo. This one is by Illinois Jacquet and that is saying something. The slightly eastern flavor carries throughout the piece, back to the unison line and then out.

Star Eyes is taken pretty much as written and done in this manner, demonstrates yet another side of Illinois Jacquet. This is a beautiful song and the original is only enhanced by the very personal Jacquet treatment. The Tommy Flanagan solo further points out why Tommy is so much in demand for recording sessions and club work. If I needed a piano player I would hire Tommy Flanagan.

Blues For The Early Bird came about by Jacquet saying, "Blues!" and then they played it. Note that Illinois plays alto on this track — not tenor. He swings on both.

Lester Leaps In is, a tribute to "Pres", in the title and in the playing style. Illinois Jacquet leans toward Lester Young in style derivation and it is especially evident on this tune. This is a real screamer and I told Esmond Edwards thaf as soon as this one is released I would use it to lead off my show. You can hear why. It is very important to start a radio show off each night with music which will hold the interest, of the listener. This one starts strongly, builds strength in the middle and conclådes with power. Kenny Burrell plays some very polished rhythm guitar, illustrating his ability to fill other than a solo role Jacquet is all over the horn, up, down and around but not as a showboat. He is using his command of the horn to communicate his ideas to the listener. If you are reading these words while you are in a record store and have yet to sample the sound contained herein or hereon, ask the man to play Lester Leaps In for you. From this time on you will be an Illinois Jacquet admirer like so many others before you.

When Jacquet recorded You're My Thrill, he stopped the show. Everyone in the studio went over to congratulate him on his poignant, sensitive rendition of the lovely old tune. A lot of people have forgotten how lyrical this man can be with his horn.

Eddie Heywood's Canadian Sunset never had it so good. The same beat is present that propelled the first tune on side one. We started this way and we end this way — all the way around then back home.

So from a Canadian Sunset to a New York one, the session ended. I bade adieu to all the musicians, to Esmond Edwards and to Rudy Van Gelder. I lingered with Illinois to invite him to the show for an interview. Possibly the word "interview" is not quite the proper word choice. I think it could better be called a "talk". I feel I can say this because I now know the man and his music much better than I did before this recording session. You know him better also.

Willie Rodriquez yolunteered to drive me back to Manhattan and we recrossed the Hudson. I enjoyed the day and you will surely be pleased with the product Of this day. Enjoy yourself!

R. D. HARLAN
Radio Station WNCN—FM
New York City

LP-722

Illinois Jacquet - The Message

Released 1963

Recording and Session Information

Illinois Jacquet, tenor saxophone; bassoon; Ralph Smith, organ; Kenny Burrell, Wally Richardson, guitar; Ben Tucker, bass; Ray Lucas, drums; Willie Rodriguez, percussion
RVG, Englewood, New York, May 5,7-8 1963

12447 On Broadway
12448 The message
12449 Turnpike
12450 Like young
12451 Bassoon blues 12452 Bonita
12453 Wild man

Track Listing

The Message	Ben Tucker	May 5,7-8 1963
Wild Man	I. Jacquet	May 5,7-8 1963
Bassoon Blues	E. Edwards, I. Jacquet	May 5,7-8 1963
On Broadway	Leiber, Stoller, Mann, Weil	May 5,7-8 1963
Like Young	Andre Previn	May 5,7-8 1963
Turnpike	I. Jacquet	May 5,7-8 1963
Bonita	E. Edwards	May 5,7-8 1963

Liner Notes

THE career of Illinois Baptiste Jacquet has been punctuated by commercial highs and lows. He served his musical apprenticeship in the Southland, largely in Texas where he was reared and he paid dues aplenty while learning his craft. When he joined the Lionel Hampton band in Los Angeles he was only eighteen and an unknown except to those restricted audiences privileged to have heard him play the tenor saxophone so exuberantly in obscure clubs and dreary dance halls. Hampton, always a discerning judge of musical talent, was startled the first time he heard him blow and immediately predicted greatness for him and an assured place in the pantheon of jazz. Jacquet worked with the Hampton organization for three turbulent years, polishing his style and learning from his accomplished boss all the tricks of showmanship. A year spent with both the Cab Calloway and Count Basie bands groomed him further for the stardom which came inevitably, and when in 1947 he decided to quit the role of sideman and lead his own group he had already been adjudged one of the most important and creative performers on his instrument.

If this latest album of Jacquet's, The Message, contains a message it is an emphatic statement that the Latin American influence on American jazz is pervasive and profound and that the Latin rhythms can be applied to the blues with exhilarating results. Much of this album is Latin but the idiom is American. All his life Illinois Jacquet has been sentimentally attached to French influence in art and music, but Latin melodies and rhythms have exerted an increasingly powerful impact on him. The Afro-Cuban explosion in U.S. jazz rocked him traumatically. The samba stirred him. The subtlety and melodic beauty of the Brazilian bossa nova fascinated him.

"Latin rhythms, played well with appropriate melodies, can create a wonderful, satisfying feeling", Jacquet observes enthusiastically. "Latin music gives you a grip, something exciting to work with. Making this album mainly in the Latin manner was an experience for Jacquet, precisely because his own small group seldom plays this of material or in this style."

Drummer Ray Lucas, who plays with the King Curtis group, inflamed the ardor of the other participating musicians and gave a priceless unifying drive to the sessions which were spread over two days. Lucas has a sureness of beat, great versatility and the ability to adrust to almost any problem posed. He avoids a fault of many contemporary drummers; creating unnecessary volume with the bass pedal. He communicates effectively and makes the soloist feel the rhythm patterns he creates. "You always know that Ray is there", says Jacquet, "and there is never any problem about time, the most important thing in music".

Like Young, an Andre Previn tune, is given a warm blues interpretation by the group, with organist Ralph Smith playing the bridge and guitarist Kenny Burrell taking two exquisite choruses. Nowhere else in the album is the Lester Young influence on Illinois Jacguet's playing more evident than in his first two choruses which recall the fluent, poetic Prez of the 1930's. All of Jacquet's reverence for the great Lester Young is present in his playing on this track. "I never realized I was so close to Prez until I heard this side played back", Jacquet confessed.

Ralph Smith is a Detroiter who moved to New York in 1962 and whom Jacquet hired after hearing him play one set at the Purple Manor in Harlem. A gifted and modest man, Smith injects his religious upbringing into his playing, has excellent techmque and is ambitious and studious. "Ralph Smith has a blues stream in his soul", Jacquet says poetically. "He could become one of the great organ players of our time".

The blues, Turnpike was written by Jacquet while playing an engagement at Lennie's Turnpike, a small club in West Peabody, Massachusetts, where he has a host of faithful fans who provide him with some of his best audiences. Jacquet venerates the blues, regards them as the foundation of his art. He has written many blues tunes and says "I've got many more blues to write". His earliest memories of the blues reach into his childhood in Houston, Texas where his father, Gilbert Jacquet, led a blues band which Jacquet listened to for hours. It was in Houston where Illinois aspired to become a dancer and formed a dance trio with two older brothers, Russell and Linton. He danced before he learned to play a saxophone. "We were born with the rhythm and raised on the blues", Jacquet says with pride. "If you can't play the blues, you're not a jazz musician".

Esmond Edwards, who was A & R man for this album, wrote Bonita, a minor blues-like number with Latin overtones. An oddly beguiling melody, Bonita provides Jacquet with an excellent vehicle for delightfully demonstrating the creative marriage of American jazz and Latin themes.

Bassist Ben Tucker, who wrote The Message, flew up from Washington to record the album at the invitation of Jacquet, who admires his instrumental talent as well as his compositional gifts. Ralph Smith plays the organ with fine restraint under Jacquet's soft but strong tenor line. What message does Ben Tucker here convey? Jacquet offers this explanation "Ben is saying who he is and where he came from, what he thinks and what he believes".

Wild Man, an uptempo blues, was written by Jacquet and dedicated to Boston disc jockey, Wild Man Steve Gallen. Jacquet, blowing with the big "Texas sound", that characterizes so much of his playing, dominates, but Kenny Burrell's long intricately-executed guitar solo is one of the memorable performances of this album. Jacquet knows a lot of disc jockeys around the country. "Disc jockeys are some of the most important people in this country", he maintains. "They are the salt of the earth for they spin musicians' records day and night for millions of people and thus help keep the business going".

Ever since that day in 1957 when he purchased a bassoon in Berlin while touring Europe with a Jazz at the Philharmonic troupe, Jacquet has wanted to play the instrument competently enough to record with it. A college music instructor visiting his Long Island home showed him how to assemble the instrument and explained the G Scale to him. Jacquet practiced on the bassoon usually when relaxing at home after grueling road tours. He played it in public for the first time last year at the Shanty Lounge in Boston and was encouraged. During the recording session it was decided that Jacquet should do a number with the bassoon and this blues theme was created on the spot. "I have a lot of blues in me", says Jacquet with a knowing smile.

Now 41 and a composed and reflective man, Illinois Jacquet is content to play the smaller clubs backed by Ralph Smith and drummer Jual Curtis. The lush years of the big money are behind him now, but he finds immense satisfaction in his attractive family and golf. Life has been good to him and he had no regrets today, even though his income does not approach the high-water mark of $250,000 he earned in 1947 and 1948. "It isn't the money you make", he says philosophically, "but how you live life that counts".

—Allan Morrison