Stereojack

One of the true originals. RIP, Bo.

That's OK - y'all can't get good Italian sausage sandwiches or pizza out your way. It's a regional thing.

Years ago, all doughnuts were made on the premises at Dunkin' Donuts, and they were go-o-od! Somewhere along the way, as the compnay expanded and had a shop every few blocks, they changed that policy, and nowadays the doughnuts are made at some central facility and delivered to the individual stores. At that point the quality went down. In regards to the Dunkin' vs. Krispy Kreme controversy, a few years ago Krispy Kreme decided to expand into the northeast, and the very first store was on a main drag about two miles from my house. I watched daily as the construction neared completion, since I passed it twice a day, and when the shop finally opened, you wouldn't believe the mob scene! Cars were lined up literally around the block, because they were giving away free doughnuts! My curiosity was piqued along with everyone else's, but I waited a couple of weeks until the lines had subsided, and finally I got in the drive-thru and picked up a dozen doughnuts and brought them to work. For years I had heard from southerners about how great Krispy Kreme's doughnuts were, and now I finally had a chance to try them for myself. They are selling a different product than Dunkin'. Dunkin' offers what we call a cake doughnut, heavier and more solid the the raised doughnuts offered by Krispy Kreme. Although Dunkin's cake doughnuts are second rate, there are a few mom & pop shops around that do offer a high quality, freshly made cake doughnut, and even though I rarely eat doughnuts these days, I occasionally do enjoy a warm plain doughnut, which is crispy around the edges. After expanding for about 3 years, Kripsy Kreme threw in the towel in the northeast, and closed all of their shops. They will not be missed.

I'll second that. Heard it when it came out, and dumped it. Over the years the reputation of this record has soared. Several years ago, I had a chance to reevaluate it, and it came up short again. What am I missing?

I've had the set for nearly a year now, and have a few comments. I like the sound a lot - it's clear and detailed, and I don't hear any excessive noise reduction that others have noted. One thing, though - I have to turn the volume up much louder than I do with other CD's. For some reason, the set is mastered at a low volume. The music is wonderful. We get to hear Chu in all kinds of settings - the big bands of Cab Calloway, Teddy Hill, & Fletcher Henderson; small group sessions with Wingy Manone, Putney Dandridge, Henry Allen, Mildred Bailey, Teddy Wilson, Gene Krupa, & Lionel Hampton, and two sessions led by Berry that compare favorably to his Commodore dates.

There's no denying the strong resemblance between these two songs, but is "It Must Be Jesus" an actual original composition? I believe that this song is also known as "There's a Man Going Around Taking Names" (or something like that), and may have folk origins that are not clearly traceable to a specific author. This kind of "thievery" is commonplace in traditional music of many types. Just ask Bob Dylan.

Just came home from seeing the Don Friedman trio at Sculler's in Boston. The trio, with Martin Wind (bass) and Joe Hunt (drums) sounded great. I've admired Friedman fot decades, but this was the first time I'd seen him in person. He's playing as great as ever! And who was sitting at the next table? Jazzshrink!

I got mine two weeks ago. I understand that they are being sent based on the last two numbers of one's social security number. Mine are 02 so I guess I was near the top of the list.

This test is bullshit. I got 57% (Dixie) Barely into the dixie category. I have lived in the Northeast my entire life, although I don't have a pronounced New England accent.

The record was first issued in the late 1970's.

I'm bowled over about the losses reported by Larry and Jazzbo. I can only echo the sage advice offered by many here - that a tragic loss such as yours takes its toll in ways that we cannot predict, but eventually the pain does subside, and the old joy does return. I lost my kid brother in a senseless accident some years ago, and it was many months before I could get it out of my head, and it definitely took away the joy in many things in my life. Eventually I returned to my old self, as I'm sure you both will also do. Secor - I saw "The Visitor" last week. Wonderful film, highly recommended!

Many Many Happy Happy!

Sorry, I couldn't take my eyes off his rug!

I think the list and Lord are wrong. The listing for 86025 is almost certainly incorrect. I've never heard of a Columbia Record Club pressing having a different number. Michael may have meant Capitol Record Club, which did assign different numbers to their pressings, but what are the odds that the numbers would be so similar? Whoever supplied Mike's information gave him a mistaken item. I know it's possible - I was one of Mike's contributors!

http://www.jazzdiscography.com/Labels/limelite.htm

The dark green is the earlier label. The Limelight label, a subsidiary of Mercury, came into existence around 1965. The albums had deluxe foldout jackets with fancy die-cut inserts, designed to compete other high profile packages produced by labels such as Impulse and Verve. Around 1967 the design was streamlined - the jackets were now the standard non-gatefold type. About a year later the label design was changed to pink.

Jim, My deepest condolences, Jim. I know that this is little comfort, but take some consolation in the fact that he went quickly without a long protracted illness, even if it is about 20 years too soon.

Ruby has a string of fine releases on Concord which can usually be had for short money. I've got most of the Arbors discs as well, and there isn't a dog among them.

I didn't get that at all! I think Juno was taken with Bateman's character because she saw him as a real cool older guy, and he was perhaps a little flattered. As she got to know him, she realized that he was somewhat shallow and immature, and that it was his wife (who at first seemed like a typical yuppie) who really cared about the baby. I think that the whole relationship between Juno and the couple helped Juno to see past first impressions in her perception of people, to "grow up", if you will.

I think Stan Getz' playing (and Desmond's for that matter) is anything but simple! Even in the most mundane of settings, he always manages to play with great inspiration and artistry.

That is the second cover. Original cover looks like this:

I think this is a lovely record, despite its faults. The American rhythm section is stiff, which is why many subsequent bossa nova records by American musicians (including Getz) employed actual Brazilian players. This was many people's first exposure to this music, and I think it's difficult to find fault with Stan's playing, whether or not one likes the other musicians. Stan took to this music like a fish to water, although later on I believe he got tired of audiences' demand for more bossa nova after he felt he had said all he had to say within the style.

I loved the film - hated the music. But then again, this is music that teenagers are supposed to like, not old farts like me, so I thought the music was appropriate, I guess. I like the fact that Juno's parents were not portrayed as clueless, but as genuinely concerned. I liked the way our first impression of the adopting couple was the opposite of how they turned out. I found the smartass dialogue off-putting at first, but eventually we realized that this kid was not as smart as she thought she was. The ending, as corny as it was, got to me. Some have observed that the film seems to take an anti-abortion stance. I don't agree. I think it's possible that abortion clinics can also be staffed by the occasional insensitive worker. This is a young kid weighing her options, and deciding she'd rather have the baby.

I've got the first album, and it's decidedly jazz oriented. Not long after he made it, he hit big with the straight pop tune "Wonderful Wonderful" and realized that greener pastures were elsewhere. Also, although the charts are nice on the first album, I'm not convinced that Johnny is all that convincing as a jazz singer.

Most of Taylor's records are easy listening shlock - he plays well, but the settings are pretty light. If you can find any of these, they contain his best work: "The Big Beat" (MGM) "Jazz For Commuters" (Metrojazz) "Claude Cloud & His Orchestra" (pseudonym for studio group w/ Taylor, Leroy Kirkland, & Panama Francis) (MGM) The Claude Cloud LP contains the original version of "Cloudburst", one of Sam's greatest recorded solos, later covered by Lambert, Hendricks & Ross.