Jim R

Chet fans may want to check this out. It's audio only (other than a still photo), but I think it's a fairly obscure recording (at least it used to be). It was always one of my favorite individual Chet tracks. It was released on the Moon label, and comes from a 1976 performance in Rome, with Jacques Pelzer (fl), Harold Danko (p), and Isla Eckinger (b)... Deep In A Dream / live [warning: this recording contains Chet Baker vocals]

How are we to know what you heard on the radio? At any rate, I highly doubt that what you have been exposed to is his "mediocre output". I think that tends to be the more obscure stuff from his european years when he was over-recording. If you don't dig him, there's nothing wrong with that, but it would help if you were more specific about what you've heard and your reaction to it. I'm not a trumpet player, but I too hold Chet in high regard as a trumpet player and singer (with exceptions, of course) with an incredible natural ear, and I don't think it's a stretch to say he's on a par with some of the greatest trumpet players in jazz history. I know some would disagree, but there's no correct answer, so...

Wow, a fossilized thread from early 2003. I found this by doing a search for "Donald Clarke", as I was curious as to whether "The Rise And Fall Of Popular Music" had already been discussed here on the board (not so much, it appears). I've actually known about the online availability of it for years, but I have to confess I still haven't read the entire thing (up to now, I've been satisfied to use it as a reference and focus on particular chapters/periods). At any rate, I think it's some of the best writing on popular music that I've ever encountered, and the scope and the thoughtful approach to detail (and intelligent analysis) amazes me every time I read from it. It seems like the sort of book that would have inspired lengthy discussions (and arguments) here, especially with the range of ages and tastes that exist here. Anyway, I'm adding another recommendation. Btw, the link above no longer works, but there is a new one (I'm linking to Mr. Clark's home page, which offers direct links to the books): Donald Clarke's Music Box

No problem...

I did a Google search, and found the Loughborough lyrics on pianist Larry Vuckovich's page on the Global Jazz Network site. Interesting in that they were posted in a comment by Al Haig's second wife. I've edited hers just slightly, correcting where I saw fit... FOUR There's not one boy for me - I must have two or three, I need Four First, the man who's the type to like slippers and pipe at the door.. Then if at all possible I'd like the kind Who's not very bossable But knows his mind. If you add to these few one that knows how to woo dogpatch style Then this man of my world will be spangled and pearled with his smile And though it's incredible I've found it's true That my four-in-one boy is nobody else but you. ===== Not bad I guess, but there's only one Jon Hendricks. I have to admit, although I "heard" most of these lyrics the same way (haven't heard the O'Day version in years), I don't recall hearing that "dogpatch" part correctly (assuming it is correct).

For anyone who may not be aware, Tiny played tenor (4-string) guitar, which some would view as a limited instrument, but which sets the stage for Tiny's distinctive sound and approach. And yes, as Cliff alludes to, Tiny's tone was akin to that of other early electric standouts, in that his tenor guitar featured a smaller version of the classic "Charlie Christian" pickup (seminal pickup design, which used cobalt in the magnets, which became rare and expensive, etc). I think I first really noticed Tiny via a Tatum Trio LP. I had probably heard those few Savoys with Bird already, but his playing with Tatum really made me turn my head. Not long after, I bought an import LP called "Rockin' And Sockin'" (Oldie Blues, Holland), which included various tracks from his R&B sessions. That thing knocked me out completely. One thing that Tiny was doing long before most other players was adjusting his volume control (on the guitar) mid-flight, to great effect. The drama he created with that technique on some of those R&B recordings is irresistible. I think all of that stuff can now be found on CD in the Chronological Classics series. Re his 70's work, in addition to "Some Groovy Fours", there was an LP called "Profoundly Blue" (Muse, 1973) that I used to enjoy a lot.

Thanks for the tips. Will be keeping my eyes and ears open.

Thanks, Jimmer. The first one I had seen before (I think it was one of the obsolete image addresses I used earler in the thread). That's the guitar I mentioned above, this time having been modified further (humbucking pickups). The second image didn't load at first, but it worked when I tried opening it in a new window. Cool shot of Kenny with his D'Angelico New Yorker (circa late 60's). I'm kind of wondering if I should have posted this thread in a different forum (since I'm not looking to buy anything). Maybe it should have been in "Artists"? If any of the mods want to move it, that would be fine.

You make some interesting observations, Ellen. I've never really tried comparing M2/S with Q. J-M directly, but I can understand what you're saying. For me, I simply love both. I think there's definitely something of a darker, more melancholy atmosphere (perhaps more sentimentality) on some of the M2/S recordings, which I never found to be a negative thing... I just associate it with the fact that Jobim had passed away within the fairly recent past when the group was organized. As I'm sure you know, Ryuichi was even using Tom's piano on "Casa", and mentioned in one interview that he was very moved to have that opportunity. He also mentioned that one of their goals was to make more people aware of the scope of Jobim's compositional ability, to get beyond the stereotypes of his popular bossa hits, and show more of his classical side. This might account for some of the more laid back vibe of much of the group's work (and again, I suspect you know that... I just thought I'd spell some of that out for other who might be reading this). At any rate, you may also be right about the marketing and presentation differences between M2/S and Q. J-M. I hadn't thought about that either, probably because I'm so attracted to both. To each their own, as they say.

I watched them frequently, in fact I used one of them as my Youtube bookmark for awhile. Absolutely! I recall both the image and sound quality as being excellent. Maybe we need to organize a petition...

Bev, have you got these? If not, do not delay nor hesitate! The "Live In Tokyo" disc may be a bit more difficult to get at a reasonable price, I suspect. I paid $41.00 for "Live in Tokyo>" Not sure, but that may be the most I've ever paid for a single disc. It was well worth it. That was such a magnificent group... they continued Jobim's true essence in such an elegant and refined way. I'm not sure they ever got the attention or the recognition they deserved. It's too bad that the Tokyo CD is even more expensive now...

Second shot... Btw, the fascinating thing here for me is the fact that the guitar in these photos is something of a transition guitar for KB. It's a customized Gibson instrument, something of a hybrid between the ES-175 model he had used in the late 50's, and the customized L5 that he used around 1962 to 1964. The guitar in these photos looks to have had an L5 neck/fingerboard attached to an ES-175 body. The "Charlie Christian" pickup was likely a customization (can't see what the bridge pickup is, but I assume it's a P-90, which would have been standard on the 175). The "6-finger" tailpiece and string damper (near the nut) are unusual for that era, and the pickguard is not a stock item. Anyway, guitar hounds may find some of this interesting... or not. Bottom line- what a sound, and what a player. Happy Birthday, KB.

I was googling for some info on KB today, and I happened to notice a link to a Youtube video ( KB / Midnight Blue ). The thumbnail image posted for the video was something I'd never seen before, so I investigated immediately. Unfortunately, the "video" is one of these Youtube "slideshows" (I have a bit of a problem with the proliferation of these, as most of them offer nothing other than audio and still photos- most of which are very common). Fortunately, a couple of the still photos are what I would consider to be relatively rare. I'll attempt to attach them below...

Bev, have you got these? If not, do not delay nor hesitate! The "Live In Tokyo" disc may be a bit more difficult to get at a reasonable price, I suspect. Thanks, Jim. I have the first two (and the first of Paula's more electro-modern discs, with the other on the way from Australia); did not know about the third. Something else to track down. Glad to hear it, Bev. Another one that is not to be missed is this: Jobim Music label; rec. live in Rio, 1990, issued circa 2000; Antonio Carlos Jobim,Paula Morelenbaum,Danilo Caymmi,Paulo Jobim,Jaques Morelenbaum

Jack Palance Liberty Valance Justis Thigpen

Bev, have you got these? If not, do not delay nor hesitate! The "Live In Tokyo" disc may be a bit more difficult to get at a reasonable price, I suspect.

Flip Saunders George Kirby Johnny Littlejohn

The Crimson Tide The Green Wave The Orangemen

Here Watch it for the music... and more importantly, watch it for Diana Rigg.

Augie Donatelli

Fafa Lemos Mr. Soso Lala Vasquez

Max Bretos Med Flory Mini Me