BillF

Not listening to Broad bowling a test hat-trick Bill? No

Jazz Record Requests from BBC Radio 3 Now playing: Oscar Peterson, "Astaire Blues"

That's a great record. Yes, indeed!

"Q" "M" "007" Jimmy Bond Brooke Bond Big T

Michael Sadler The Galloping Major Leon Trotsky

You have the same two that I have.

Michel Foucault Jacques Derrida

Cannon & Ball Caliban Prospero

http://www.guardian.co.uk/music/2011/jul/28/collecting-7in-records-ebay?INTCMP=SRCH

On the subject of "change", I think we should also mention that musicians often - particularly nowadays - have a repertoire of styles they can call upon, depending on the company, sort of band and occasion. I always describe Britain's Alan Barnes as a chameleon musician. He can slip so easily from Phil Woods to Hodges to Paul Desmond, not to mention that he'll turn up at gigs with baritone and clarinet, as well as his usual alto.

Sacred Cow Golden Calf

Evan Evans Johnnie Johnson The Double Six of Paris

The Jim Rotondi Group at Small's on April 29 2010 Jim Rotundi (tpt) Doug Webb (tnr) Mike DiRubbo (alt) Dan Trudell (pno) Paul Gill (bs) Jason Brown (dms) http://www.smallsjazzclub.com/index.cfm?eventId=2713

Something about Robert Damper's name that doesn't appeal.

That was the very young Dizzy, before he matured into what we now think of as his style, another sort of "change". Similarly the Four Brothers tenormen all sounded vaguely Lesterish as young musicians in the Herman band, before they established their distinctive Getz or Sims or Cohn styles - not to say that each didn't go on evolving in these styles over the rest of their careers.

Frank Foster Memorial on WKCR.

You speak of "dramatic change". This might apply to career changes on the part of jazz musicians who altered what they were doing so as to appeal to a different (and larger) audience. Nat Cole and George Benson would fall into this category. I'll reserve judgment on Miles' change c.1969.

Harold Land was one of very many saxophonists whose styles were established pre-Coltrane and who modified their approach after Trane emerged as a dominant force. The advent of bebop in the 40s was such a sea change that many players couldn't or didn't want to modify their approach. One who did was Coleman Hawkins, whose constant evolution during his very long career (around 1920 till the 1960s) was a marvel to behold.

Now listening!

Brian Spring April Flowers Orlando Bloom

Bugs Hamilton Sir Crispin Tickell

Tommy Steele Fred Iron Lord Copper

With the Marty Paich Dektette, arrangements by Paich and Clare Fischer, featured soloists Jack Sheldon, Bud Shank, Herb Geller, Bill Perkins, Bob Enevoldsen.

Linda Colley President's Poodle Lionel Blair Pinnochio Dumbo Jiminy Cricket Ronnie Ball Christian Bale Gita Legova

"The Last: Final Recordings of Jazz Greats" on Night Lights from WFIU Now listening to Bill Evans, "Re Person I Knew" from Consecration: the Final Recordings, where I can hear a real decline in his piano skills, something I didn't notice when I saw him a few weeks earlier at Ronnie Scott's. This is followed by a seriously weakened Getz. This show, tho' fascinating, doesn't make pleasant listening, David!