uli

Bastian Schweinsteiger Conrad Bauer Beckenbauer

it's gonna be "epic" tonite http://fivethirtyeight.blogs.nytimes.com/2013/06/13/heats-clutch-stats-meet-match-in-spurs-strategy/

Starting to read this discussion remined me that I have been digging this trio set from the 90ies quite a bit http://www.youtube.com/watch?v=ZmicYq2MlE8 now I just found another one and greatly enjoy this right this now, Both very enjoyble sets for me http://www.youtube.com/watch?v=IJCKcPau5uw

How about those Spurs?

This morning I had to mow the lawn. Fortunately I could wait until the grass was dry.

http://www.youtube.com/watch?v=Oo4OnQpwjkc

We don't have reindeer in Chicago but I could probably use the energy I have got to go mow the lawn. I am having my second round of bustelo. This time I am drinking it iced.

http://www.youtube.com/watch?feature=player_embedded&v=ZUFAI02oGKA

I just updated my avatar. It's a caricature. I love daumier. I chose this one for it's name too "Gros, gras et.......Constitutionnel". It has nothing to do with me. Personally I am the opposite

Ballnight!

I have smoked for a little more than 50 years. Most of the time quite heavily, For about 30 years Gauloises and Gitanes bleu. Now I vaporize.

test [media ] http://www.youtube.com/watch?v=2nCac5p2Yc4

David Niven Peter Sellers Claudia Cardinale

Last night i thought about this thread when I heard Bankhead (on cello) Josh Abrams & Tatsu Aoki on basses with Isaiah Spencer Ernest Dawkins and a french trumpet player whose name I did not catch. Bob Cranshaw deserves some love too.

I know a picture of Bird soloing as a member of a Jimmy Heath big band with Trane in the sax section looking on. So Heath maybe an other. Happy Birthday, Mr. Haynes!

The horn players name is Kebbi Williams. Sharkey is from Chicago. I used to hear him a couple of years ago when he came to the jam sessions at the Velvet Lounge. I think he was about 16 when he started to show up and he impressed people then,

Isaiah Sharkey is the guitar player.

I know. that's why they look a bit like the CUBS of the NBA to me.

That's a joke, no?

How about Kahil El Zabar and the ethnics? i have only heard the Cherry Thing once when it was available on NPR but for me it's at least remotely similar.

with all due repect goody, uncle hate does not really come from that other jazz site. he is a moderator at IHM. Here is what he posted there in respect of this thread

This obit by Howard Reich appeared in the Sunday Trib Johnny Griffin 1928 ~ 2008 Made-in-Chicago 'tough tenor' 'Little Giant,' who came of age when jazz clubs crowded the South Side, consistently startled listeners with his outsized sound and brilliant technique By Howard Reich | Chicago Tribune critic July 27, 2008 Chicago has produced more than its share of colossal tenor saxophonists, from past icons such as Eddie Harris and Gene Ammons to current masters such as Von Freeman and Fred Anderson. Among them, Johnny Griffin stood out for the brilliance of his technique, the enormous scale of his sound and the explosive energy of his improvisations. Mr. Griffin, 80, who for many listeners epitomized Chicago's larger-than-life "tough tenor" sound, died Friday, July 25, near Poitiers, France, where he lived with his wife, Miriam, said his sister, Lita McClinton. He had suffered a stroke a few years ago, but continued to play and was scheduled to perform in Europe this weekend. Though somewhat overlooked in the United States since he moved to Europe in 1963, Mr. Griffin began to play regularly again in Chicago, New York and other American jazz centers in the late 1970s, consistently startling listeners with the prowess of his work. "He always sounded great—he had it from Day One," said Freeman, who knew Mr. Griffin since grade school on Chicago's South Side. "He was one of those little geniuses you meet," said Freeman, referring to Mr. Griffin's slight physical stature, which early on earned him the nickname "Little Giant." Composer David Baker, who heads the jazz department at Indiana University's Jacobs School of Music, said: "I've listened to [John] Coltrane and everyone who came along, and I'm not certain there's ever been anybody with greater technical facility. Along with some others, he very much summed up Chicago tenor." For good reason. Mr. Griffin came of age when jazz clubs crowded the South Side and a generation of made-in-Chicago jazz musicians were trained by the feared-and-revered Capt. Walter Dyett at DuSable High School. Dyett turned out such future stars as Freeman, Ammons, Nat King Cole, Dinah Washington, Johnny Hartman, Dorothy Donegan and Eddie Harris, but Mr. Griffin made his splash early. Bandleader Lionel Hampton heard him play at a DuSable assembly and was smitten. "Hamp actually heard Johnny playing alto saxophone, but he loved what he heard—I was there that day," recalled jazz guitarist George Freeman, Von's brother. "So Johnny went out on the road with Hamp, playing tenor." Mr. Griffin created a sensation playing solos opposite tenorist Arnett Cobb on "Flying Home," which had been a breakthrough hit for Illinois Jacquet. But Mr. Griffin tired of the familiar swing-band repertoire. By the late 1940s, he began to lean toward the new sound in jazz: Bebop, its fast-flying chord changes and phenomenal technical demands uniquely suited his gifts as instrumentalist and improviser. Post-Hampton stints with Joe Morris' band in the late 1940s, and Art Blakey and Thelonious Monk in the mid-'50s, burnished Mr. Griffin's credentials as one of the most accomplished tenor players in the kingdom of bop. Anyone who doubted his outsized sound and instrumental skill needed only to listen to his 1957 Blue Note album, "A Blowing Session," in which Mr. Griffin went up against saxophonists Coltrane and Hank Mobley. "Coltrane already was thought of as an important figure at that time," said Chicago saxophonist Frank Catalano. "But when you compare Griffin and Coltrane on that recording, Griffin had way more stuff going on. I believe Coltrane learned from Johnny Griffin, I believe Michael Brecker learned from Johnny Griffin." Mr. Griffin's "tough tenor" collaboration with Eddie "Lockjaw" Davis in performance and on record in the early 1960s brought acclaim to both men. As the decades unfolded and trends in jazz came and went, Mr. Griffin clung to the bebop vernacular. "Maybe I'm historic," Mr. Griffin said in a 1990 Tribune interview, "but living in France, I learned long ago that folks in America are often obsessed with everything new, young, different. "Well, some of the old sounds have something to say too." Mr. Griffin proved the point on the CD "Chicago, New York, Paris" (Verve, 1995), which breathed the fire of old. He returned to Chicago in 2005, playing at the pinnacle of his form alongside several other Chicago tenor men at a Chicago Jazz Ensemble concert at the Art Institute of Chicago. But he also reaffirmed his ability to play a ballad, showing extraordinary tenderness in "When We Were One." Other survivors include three daughters, Cynthia, Ingrid Morgan and JoOna Danois; a son, John Arnold Griffin IV; and several grandchildren. A Chicago tribute to Mr. Griffin is being planned. hreich@tribune.com

Right. I ws actually just listening to the CD release that's celebrated tonite (AEOC with Fred Anderson live in seattle) and diggin Moye when I red this thread.