TAKE 17 (alternate master JZL54A):
TAKES 18 & 19 (assigned alternate master #'s JZL54Y, JKL54Z):
(unissued; all that remains of these two alternate takes -- planned for a 78rpm compilation issue along the lines of Granz's Jazz Scene package -- are badly deteriorated and entirely unsalvagable shellac parts. There exists in the firm's ledger for 1951 an expenditure entry for two 10-inch metal and acetate test pressings bearing these master numbers. Nonetheless, our investigations of the label's vaults have yet to uncover anything resembling anomalous source materials.)
TAKE 20 (alternate master JZL54B):
TAKE 21 (alternate master JZL54C):
TAKE 22 (alternate master JZL54D):
TAKE 23 (no master # assigned):
(rejected; an incomplete head for a very fast, untitled tune. The true shame is that existing discographical information convinces us no other attempt at this "Rhythm" variation, even one at a less delirious tempo, was made. Even this uncredited fragment suffers severe distortion, suggesting that technical difficulties attributable to the studio's newly purchased Ampex 400 magnetic tape recorder might also have contributed to a break-down. The possibility also exists that this was a reference take. Whatever the case, the producers are indebted to the cooperative spirit and prodigious recall of Mr. Harry Smith, who acted as the recording engineer at these original sessions; Mr. Smith was kind enough to take time out of his still very active schedule to sit down with us and confirm the identity of this truncated performance as well as its more probable origins.)
TAKE 24 (alternate master JZL54F):
Love, Gloom, Cash, Love, and all contents
thereof, Copyright © 1998-2005 by Joe Milazzo; Dallas, Texas; USA.
