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medjuck
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Posts posted by medjuck
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They usually come right by my corner-- unfortunately I'm in Toronto, not there.
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And is the first part of Lush Life the verse? I read somewhere that the whole song was meant as the verse to Something to Live For.
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I think Ella sings all the verses on the Songbooks. Often my favorite part.
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Miles recorded this at the same May '58 session where he first recorded On Green Dolphin Street. Both of course then became jazz standards but was he the first to do jazz versions of them? Did Ahmad Jamal do them first? If they were the first jazz versions where did Miles hear them?
IIRC Red Garland often introduced obscure songs to the group but he wasn't present at this session.
(And they're both themes from movies.)
Part of my question was answered in Francis Davis's Grammy winning notes to the latest KOB release. Jamal did a very similar version of Green Dolphin Street a few years before Miles.
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Can’t really see Allen doing anything like that, however he will spend time starting pointless threads like this one, the gist of which is, “Francis Davis is a dick for doing the liner notes to the new reissue of Kind of Blue and is an even bigger dick for winning a Grammy for it and then became a total dick for accepting it”. Not only that but also post a pretty much similar comment in an existing thread regarding the new reissue of Kind of Blue. If it bothers you that much Allen, write the guy a letter. Personally I can’t imagine anyone with even a vague amount of intelligence giving the Grammys a second thought, let alone being upset by someone winning one.
I must have missed something in this thread. I thought his congratulations were sincere. Am I just being naive as usual? Has something been deleted?
BTW I just read the notes. They're pretty good.
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Saw Patti Smith with Philip Glass last night. They did a tribute to Alan Ginsberg but after some poetry accompanied by piano, Lenny Kaye and
Jaye Dee Daougherty came out and we had some songs-- including a Valentine's Day sing-along of Because the Night.
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My Dad owned a furniture store and brought home all the latest gadgets. We had one of those big box stereos-- turn-table and amp with speaker on one side and 2nd speaker almost as big on other. I loved stereo from the beginning. Not the ping-pong or train stuff which was fun, but the music--
especially the large orchestras. I still find mono compressed. (I even like the stereo versions of Pet Sounds and Phil Specter's stuff.)
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Great post. My father was basically a refugee in Europe for the first 10 years of his life (1911-21) running from the Cossacks and various armies (ironically the Germans saved his family during WW1), but he used to say he had his mother and her family and despite everything that was all that mattered. (His father had left for Canada before he was born and for various reasons they couldn't join him, so my Dad didn't meet his dad until he was 10!)
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I concur with everyone else. They once sent me the liner notes for the Port Of Harlem Jazzmen Lp when I hadn't been able top buy it before it was oop but had the Blue Note cd.
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Also full of historical mis-information.
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He seems to have quoted "If I Loved You" on many recordings of Turnaround, including the earliest ones.
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I hate his viciously insulting manner and I hate how firmly and resolutely he believes and attests that his opinion is better than others, and is in fact, fact.
Other than that, no problem. Problem is there isn't much more than that in my estimation, or it dirties all the rest.
Well I have an additional problem: I often don't understand what he's trying to say. I admit that I tend to read quickly and maybe I should take the time to decipher what he's saying. But he seems so proud of his erudition that it's more than a bit off putting.
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Roberto Bolano: 2666
My son gave me this for Xmas in a paperback 3 volume boxed edition. I'm away from home right now and took the first volume
(books 1-30) with me. I'm just getting into it but quite like it so far. Very well translated it seems to me. (ie the English is not in the least stilted-- can't tell that it's a translation-- though I of course can't say how close it is to the original.)
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Whatever you think of the USPS, trust me the Canadian postal service is much worse. Having lived in Canada most of my life I'm actually really impressed by the USPS. And it's got Saturday deliveries.
People here (I'm in Canada right now) have told me that Netflix failed in Canada because of the postal system. (I know that's just hearsay but I don't know how to confirm it.)
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I thought so too but I'm away from my books and can't confirm it. I think he was in the band but not sure he ever recorded with it.
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I just finished Reminiscing in Tempo, an oral biography of Duke Ellington (highly recommended if you haven't read it) and it clearly states that a lawsuit resulted in a financial settlement over Forrest's use of the section of Duke's composition.
So that questions whether Ellington "wasn't unhappy" about the situation (although maybe at the time Mills was getting co-composer credits and it was at his insistence? The book isn't clear).
And it also suggests that Jimmy had a really defective memory at the time of the interview, since he agreed to settle the suit way back when.
Sorry. My bad! I meant to write that Duke "was never happy". I'm pretty sure that Happy-Go-Lucky pre-dates Night Train.
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No matter what his later recordings may have achieved, his definitive recording of NIGHT TRAIN will grant him a place in jazz and R&B history!
Duke Ellington was never unhappy that Forrest stole the tune from the Happy-Go-Lucky-Local part of The Deep South Suite.
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There's a more recent cd by Amram with that title. It's from a concert where he included "Pull My Daisy" as a vocal.
One of the women in the film is the late Delphine Seyrig who went on to star in Last Year at Mariendbad and India Song. She appears here under another name.
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child's kindergarten song:
peanut butter sandwich made with jam,
one for me and one for david amram
REALLY!
I'm pretty sure it's a song by Raffi. If your kids were young in the early '80s you probably owned a tape of it.
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In his autobiography, Al Kooper's explanation of how this record came to be is pretty funny. The whole book (of which he's done 3 editions) is pretty interesting. I can't remember the title and I'm out of town.
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I enjoy the show but this year they seem to be trying to protect George Bush's honour! The AFrican country they want to invade is made to sound a bit like Iraq and they defend the use of torture every chance they get. (In one of the previous year they at least had Jack torture someone who
turned out to be innocent.
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You're right. With strings in '52.
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Miles recorded this at the same May '58 session where he first recorded On Green Dolphin Street. Both of course then became jazz standards but was he the first to do jazz versions of them? Did Ahmad Jamal do them first? If they were the first jazz versions where did Miles hear them?
IIRC Red Garland often introduced obscure songs to the group but he wasn't present at this session.
(And they're both themes from movies.)
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Happy B'day! And many more!!
Anita O'Day at newport
in Artists
Posted
My guess is that he couldn't afford to shoot many more performances than are in the final film. (Film stock and developing is expensive.) Be great if I was wrong and lots more showed up.