Michael Weiss

No, he meant Shirley Scott.

Monk and Hall Overton talking down the arrangements for Town Hall. And Sonny demonstrating the Three Little Words melody in an interview with Hall Overton at the New School 1963 Priceless!

Donald Byrd 1958!!

17-18 years? Get over it!

Cecil told me as much recently. He was set up with a beautiful apartment with a grand piano. But then Cecil digressed, typically, into some kind of snipe against Stockhausen, who was there at the same time. I was always fascinated by the photos on the Sun Ra Shandar recordings from the Fondation Maeght. Looks like they played inside a big tent. About ten years ago I was on a plane from Paris to NY and was seated next to a boy, about eight years old, traveling alone. He was Maeght's grandson. Spoke excellent English.

This would have to be from 1967. I'm wondering if the Hank Mobley gig is the one Nica photographed ("Three Wishes"): p. 78 Hank Mobley, Charles Tolliver, John Ore p. 144 Billy Higgins p. 159 John Ore p. 277 Hank Mobley, Bobby Hutcherson, unidentifiable pianist

The Miles interview from 1986 is great. There's around ten different snippets of it. Look at the bottom of the page http://www.ina.fr/recherche/recherche?sear...s&vue=Video The Mwandishi is killin'. Too bad the Sleeping Giant teaser is less than a minute out of 12:00.

I've had the video of this for years but never synchronized properly with the music. Thanks for posting this Brownie!! Would love to see more Sun Ra from that early 70s period. Griff with Cat Anderson 1963

Bud, Pierre Michelot, Klook, CT, Barney Wilen - 1959, Club St. Germain Everyone's in top form. If Barney Wilen wasn't checking out Johnny Griffin I'll eat my beret. Too bad the preview of the Daniel Humair Show didn't include any JMac. Hilarious to watch Monk's interviewer futilely trying to get Monk to agree with him that Round Midnight and Crepescule With Nellie are his two single masterpieces. When Monk replies he likes them all equally, the interviewer tells Monk, "then you must think that everything you write is stamped with genius," to which Monk says "merci beaucoup."

Bon Anniversaire! See you in Paris.

I'm all for intellectual curiosity about and exploration into... the process - of making music - composing, improvising, what have you. But as far as what Monk had for breakfast that morning, no thank you. One of my greatest pleasures in life is discussing scale and chord choices with Barry Harris. This is all off topic of the book itself, which I haven't read yet, so pardon the intrusion.

Knowing about Wayne's infatuation with Sci Fi I can hear it in Remote Control, Who Goes There!, Forbidden Plan-It!, Condition Red, etc. But it's just a little "ah-ha" moment kind of thing, and I already dig the music anyway. Too much intellectualizing going on here....

Well, like Monk said (if accurately attributed), "You got to dig it to dig it. You dig?" And all the biographical scholarship and insight won't help you dig the bridge to Off Minor any more than you already do/don't.... Oh wait – Unless there's a story in the book about the bridge to Off Minor and how Monk came up with it. Any conversations/documentation survive about that topic? I didn't think so. While biographies offer plenty of useful info, the reader shouldn't be fooled into thinking they'll gain an easy-pass to appreciating the subject's music as a substitute for aural study.

I've owned a Japanese vinyl copy for a while. Maybe there are some used copies around?

Look forward to seeing this in December. Worth seeing for the handwritten manuscript alone. Almost everything else save for a couple of photos seem to be available elsewhere already.

Got my Texas BBQ itinerary hooked-up: Monday - Sonny Bryan's in Dallas Wednesday - Black's in Lockhart Thursday - Iron Works in Austin I'm psyched.

Marcus plays his ass off on "Mean What You Say." Of course so does Tommy. He quotes the rhythm of Thad's big band Shout Chorus. Listen to it!

C'est tout.

Any Austinites want to meet up for a late lunch on Thursday, October 15? I'll be heading over to Iron Works BBQ around 3:00p before driving back to Dallas (DFW).

Scriabin is the direct link from Chopin to the 20th century.

He sure plays them on "Coltrane's Sound."

If you put Countdown changes on the first four bars: | Bb Db7 | Gb A7 | D F7 | Bb | Bb7 | Eb etc.... Unwieldy! Because you can't rest (harmonically) right after the cycle. You have to keep changing chords every two beats. I like to put Countdown changes in the first four bars of the bridge of What is This Thing Called Love: C-7 Db7 | Gb A7 | D F7 | Bb | Ab7 | Ab7 | G7 | G7 |

Just ask Mr. Eddy a.k.a Dick Laurant!

Garry is 4-6 years older than me. I was the one in high school. I guess jazz in Dallas just ain't the same post-Recovery Room, Arandis and 6051.