Jim R

If this has already been posted, I apologize, but it's worth a re-post...

Haven't had time to see if this was already posted...

A concept so successful that he tried it twice (although the second one had a different format). I'm interested in knowing the answer to this also. Don't see any pre-'56 examples in my collection, but even if there had been examples that preceded it, I would guess that this one really got the ball rolling.

OK, I've gone to gopresto.com and found my answer. Sorry I missed your question, GA. Be aware that the concentrators can last longer than the instructions suggest. I'm still on my first one, and I've probably used it nearly double the amount of uses it was supposed to have. It's kind of like a desktop printer telling you that you need to replace the ink before you can keep printing, which often proves false (at least in my experience).

Understood, and it's a worthy topic of discussion. I think we should just refer to these as "standards", as played by jazz musicians. Otherwise we lose the ability to clearly make reference to and differentiate a category of compositions ("jazz standards") like "Scrapple From The Apple", "A Night In Tunisia", "Round Midnight", "Oleo", "Joy Spring", etc. etc., composed by jazz musicians.

This thread is really about "standards" (or "popular standards") which came from popular music (in this case, movies/musicals). A "jazz standard" is a composition by a jazz musician, which has reached classic status or widely used in the rotation of jazz players. This topic was/is bound to become problematic in terms of determining what songs are properly referred to as "standards". It's already apparent that this is very subjective. "I've grown accustomed to her face" is a standard, I would say. It stands on its own individually, apart from being included on "My Fair Lady" theme albums. "With a little bit of luck"... not so much. Who plays that, unless they're doing a theme album? Some of the musicals listed here so far include numerous songs that jazz musicians rarely if ever play individually. The Rodgers/Hart vs Rodgers/Hammerstein comparison brings up another thing. Songs that were once "standards" in the repertoire of jazz players (say 1930's/40's) may be relatively obscure now, as compared to songs that jazz players were choosing in the 50's/60's. If one is more interested in swing than hard bop, for example, they're going to have a completely different perspective on this topic.

Coconut Grove Club, on Van Ness in SF (I didn't realize it until doing a search just now, but the place was only open from 1995-1998: http://www.sfgate.com/bayarea/article/Nightclub-operator-Sam-Conti-dies-3210907.php). I don't recall with regard to mics and such, but I'd say there's a strong possibility. I've never heard less crowd noise in a club setting, and Shearing had the entire place in the palm of his hand. The music got really quiet at times, without losing any "energy".

Good point. A piano can be played softly or it can boom when played hard with both hands. I was thinking more about the end of the spectrum involving the ability to play a piano very (very) softly, almost inaudibly, yet evenly and consistently. I think Shearing had a special touch.

Good for you, Brad. Take care of that ticker (something I've had to do over the past few years myself due to afib, and having heart-related issues in the family genes). In terms of this topic (which I don't think I fully get), I tend to think along the same lines as you. My dad passed away in 1983 (cancer, despite being a very health-conscious physician who always lived clean) at age 62. My brothers are now 66 and 62 (both have gotten past heart episodes within the past few years), and I'm about to turn 59. On the other side of the tree, my mom is 93.

In terms of group dynamics, no performance I have ever heard comes anywhere close to that of George Shearing's quintet (in S.F., 1995). Shearing himself, of course, was the best individual example of this at that particular show, and probably the best I've ever heard anywhere at any time on any instrument. Just unbelievable. Kind of amazing that he achieved this on a piano, which I don't think of as an easy instrument on which to control one's volume (relatively speaking).

We used to buy the bagged microwave stuff. God, I put up with that for too long, knowing that I was sacrificing taste for convenience. A few years ago, I finally came to my senses and got one of these, for popping quality popcorn in the microwave: http://www.amazon.com/Presto-04830-PowerPop-Microwave-Multi-Popper/dp/B00005IBXK You don't need oil (although you still have that option), and the results have been great. I know that the Orville R corn is very good quality, but I haven't gone that route yet with this new popper (happened to get some Pop Secret, which is also very good). The biggest struggle I have now is trying to add butter evenly, without ending up with sogginess at the bottom of the bowl.

Gilbert O'Sullivan Greta Garbo The Lone Ranger

The Three Stooges The Five Royales The Magnificent Seven

Sweet Lou George Sauer Salty Parker

These are interesting, but all are closer to Art Nouveau than Art Deco. Here's an article that examines the differences: http://www.fauxology.com/2012/01/art-deco-or-art-nouveau/

Ok, I can see these... Bust Backup Even this: Starter But... Pro Bowler? Seriously??

Mia Hamm Nia Peeples Pia Zadora

3 scrambled eggs; sausages and/or bacon and/or ham; buttered toast; 3 large pancakes with butter and maple syrup (some of it gets on the eggs); and a chocolate milk. When I wake from the dream, I have one banana; a half cup of granola; and a cup of Crystal Light™ lemonade (+ assorted meds, vitamins and supplements).

Bobcat Goldthwait Chita Rivera Cat Stevens

Walt Frazier Clyde Lee Joe Puma

I grew up a Stanford fan, and that has continued for many years. I've admired dozens of their players and coaches. Unfortunately, now I have to cringe every time I'm watching a Seahawks game and it's mentioned that Richard Sherman went to Stanford.