Joe

Philly Joe Jones places some nice piano on his SHOWCASE LP.

Technically "police procedurals," I suppose, but both Chester Himes Coffin Ed / Grave Digger Jones novels and Jerome Charyn's (original) ISAAC QUARTET are some of the most adventurous and "literary" detective novels out there. Or you could pass the time with some Simenons. Many, many Maigret novels to choose from.

Bud Powell's rendition of "I Remember Clifford" from the so-called "Edenville holiday" tapes of 1964 (originally issued on Mythic Sound, then again on a Pablo disc entitled BEBOP.) The piano is badly out of tune, the fidelity (uh...) informal, and I've always found Golson's elegy a little staid, even drab, but Bud, here on the cusp of his final decline, colors and shades the tune masterfully. And he finds a seam of deep, deep emotion here and mines it like no other modern jazz pianist could.

Or a condom to a...? Bris. I wince at the vulgarity, but I would have said "a blow job." Better to match Richard Dawson than Brett Somers (9 times out of 10, anyway.) (And thanks for the reminder re: Laughton's use of "Leaning on the Everlasting Arms" in NOTH... this recent Slate article by Elbert Ventura on that film might be of some interest... http://www.slate.com/id/2273576/)

Or a condom to a...? Bris.

Am I not asking the question correctly? No, the song isn't featured, thank goodness. Oh. Guess I'll wait for it to come to cable then. The new score -- by longtime Coen Bros. collaborator Carter Burwell -- is actually pretty interesting, if occasionally a little too Ken Burns-y. It's based almost entirely on "new" solo piano arrangements of old spirituals (e.g., "Hold To God's Unchanging Hand," "Leaning On The Everlasting Arms.") My wife recognized quite a few of these motifs. http://latimesblogs.latimes.com/music_blog/2011/01/soundtrack-review-carter-burwells-true-grit.html http://filmexperience.blogspot.com/2010/04/carter-burwell-on-scoring-coen-bros.html

There was a CD issue of ILLUSIONS back in the heyday of that format ('98 or '99), courtesy Koch Jazz. Shame they never got around to IN THE TRADITION.

It ain't marinara, but BBQ sauce is still red. And you can bet your fried okra there's no Vic Damone reverberating in the hallowed halls of any Central Texas smokehouse. What if they'd cast Johnny Mathis as Bama Dillert in SOME CAME RUNNING?

Was Deano lazy or just the ne plus ultra of cool (not synonymous with hip) as temperament-turned-philosophy? That here was a celebrity who lived his life counter to the redemptive narrative reserved for most celebrities like him is a kind of triumph... I guess...

Knowing Dean, simultaneously both. For such an icon, his music does not seem to circulate much. Have you read Tosches' DINO? It's Tosches, of course, and as hyperbolic / Thompson-esque (Hunter S. and Jim) as can be, but I remember it as offering some real insights.

Much grass. But how many martinis does it take to achieve Deano's hypnogogic baseline?

Jim -- perhaps I missed it in my review of this (interesting) conversation, but... exactly which Dean Martin record might that be?

LINE ON LOVE is excellent, as is the earlier "sister" recording SONG on Enja, with support from Uri Caine, Michael Formanek, Billy Drummond and, on one track, Ray Anderson. Rather low-key / late-night feeling, but not lacking in intensity at all. As noted, he's an important presence on many another leader's records: Bobby Previte, Jerome Harris, John Lindberg, James Emery, Julius Hemphill etc. I first took notice of him, though, on John Carter's Gramavision dates, especially FIELDS. He's also recorded "standards" with Anthony Braxton's various piano groups, Andrew Hill (the mighty DUSK) and Muhal Richard Abrams. The duets with Abrams (OPEN AIR MEETING) are nice, but ONE LINE, TWO VIEWS is superb.

Searching for any word on / information re: the availability of this release: http://classicjazzguitar.com/albums/artist_album.jsp?album=665 Thanks in advance.

What an education this article offers. Big gratitudes.

From the 80's, but fine nonetheless (and cheap copies are fairly easy to find): CALIFORNIA CONCERT (Shank / Rogers)

Joe Daley (tenor saxophone).

Tommy Turrentine was playing at a high, high level there in the early 60's. Although he appears on several fine Blue Note releases from the period, and could even be considered a kind of co-leader on some of those Parlan and Stan T. dates, I would like to have heard what he would have done on his own with Alfred Lion's support. 3 more? Ed Blackwell.

Lengthy review / essay on Cohen's DUKE ELLINGTON'S AMERICA and the recent Storyville box set highlighting the 40's orchestras. http://www.nybooks.com/articles/archives/2010/oct/28/grandest-duke/?pagination=false

The lone studio date with Crosby and Fournier is JAZZ MOMENTS, correct? Its the only Shearing recording I own, and I can't say I remember much about it. But this thread has prompted me to dig it out...

Yes, the opening is difficult to get through... but I agree, there's still something inimitably Hank and more than listenable in the solo he takes. That he was playing at all at this point in his career, considering his health and everything else that he had lived through, seems to me a kind of miracle, if not exactly a triumph.

Yeah, but do have this version? Its adds 4 seconds of Cannonball taking in a deep breath to the opening of "Wabash"; unavailable on any other issue, as are the Orrin Keepnews annotations on that same 4 seconds (1 page per second, BTW).

Yes, I wondered that too. Listening to Peace and Blessings which has just arrived on the back of people's recommendations here - Longineu Parsons immediately stands out - someone I've not come across before. Enjoying this disc, so thanks to those who mentioned it There was a fine Parsons compilation issued a few years back... SPACED on Ubiquity. http://www.ubiquityrecords.com/artists/LONGINEU-PARSONS.html I'm also wondering about the session documented in the Kalaparusha film. Another CIMP release?

Always loved that "Up Broadway" track from the Prestige STORY OF MOONDOG LP. At one level, it's just documentation, but, in the context of "vernacular", it shows what Moondog could do in terms of integrating that kind of vocabulary into his own music.

Yes, the truth is usually stranger than any documentary, fine as that documentary may be.