Jim R

That appears to be the same link that couw already provided (which didn't work for me). tooter, sorry for the delay (IE quit on me when I went back to your site and tried again). I'll try to e-mail or PM you.

Well, my computer ignorance is coming into play here, but: I'm on a Mac, using IE 5.1.7, dial-up. I see no "play" button/triangle on the homepage. I keep getting a "cheap tickets" popup, which is annoying. couw's link takes me to a Tripod page (http://rodneypledge.tripod.com/adm/interstitial/remote.html) with this message: This file is hosted by Tripod, a Lycos®Network Site, and is not available for download. Please check out Tripod's Help system for more information about Remote Loading and our Remote Loading policy. As I said, the MP3 file seemed to download automatically when I first logged on to the page (took quite awhile to load). I tried to listen for the playback during the download, without success. When the download was complete, I could not find any new files on my desktop, nor in any downloads folder...

tooter, I went to your site, but saw no link to the download. Then I realized that it seemed to be downloading automatically. The problem is, I can't find the file on my computer. A bit of a longshot for me anyway (I know a few names of british guitarists, but I'm no expert), but I'm curious to hear the clip.

Tom, Mail sent. Go ahead and send my discs early too. I'm not going anywhere... I'll just need the extra time to figure things out!

Eric, is it something other than the Suisa or the Philology? The Suisa disc ("Private Recordings & Rarities") only includes 4 tracks from the german session. I also bought the Philology ("Live In Europe"), which has (all?) 8 tracks.

Incorrect. This stuff has been out for 10+ years on CD (Suisa and Philology). The Feb. 12th material (all but one track) was out on vinyl (Beppo) many years earlier. The date for the german recording has always been given as March 1965... http://www.gould68.freeserve.co.uk/wes3.htm

brownie, unfortunately I have not checked out much of DeArango's work recently. I've come across a recording or two (quite sure I've seen his "Anything Went" CD), but I guess I've always decided to spend my $ on something else on those occasions.

There are a number of factors, as has been mentioned, but I think "(a)" is perhaps the biggest. I prefer to watch NCAA basketball, and I tend to agree with Oscar Robertson (couldn't access the NY Times to get at the actual article, but FWIW, I found the following): THE REVENGE OF OSCAR ROBERTSON: Television ratings for the NBA are falling as fast as Global Crossing stock--last year's finals drew the worst ratings in more than two decades. So what does the league do? Start the All-Star game at 8:55 p.m. EST, thus ensuring the entire East Coast will turn off the second half of a contest that did not end until nearly midnight EST. Can't anybody in the NBA front office read a clock? If you wanted to guarantee a lost audience, you couldn't have done better. But then, making the NBA as bad as possible seems to be the goal of league management, and retired all-time basketball great Oscar Robertson has the league dead to rights in this (a link is provided here to the NY Times page) fantastic put-down piece from Sunday's New York Times. Games have become excruciatingly bad because: "One guy freelances while the other four stand and watch," Robertson says, putting his finger on the core problem of the current NBA. "Most of today's so-called star N.B.A. players have fairly one-dimensional games," Robertson continues. "They reach the N.B.A., often after only a year or two of college if at all, without more than a minimal concept of the overall game of basketball." Most modern players have contempt for fundamentals, Robertson says; all they want to do is dunk and hoist three-pointers. Traditionalist players like Robertson were taught to master three or four shots from specific places on the floor; offensive tactics were then drawn to get players to the spots from which they could make the shots they had mastered. Now there's almost no strategy on offense. Players take turns watching each other freelance, and the result is usually a loud "clang" as a ridiculous off-balance shot misses badly. Quality of play keeps declining in part because nothing can be done to discipline 19-year-olds with multi-year guaranteed contracts who refuse to listen to coaches. The league thinks it can compensate with flashy marketing, Robertson says, but declining attendance and free-falling ratings show that fans are all too aware how awful the NBA is becoming. Do you know anybody who would rather watch an NBA game than the NCAA men's college tournament--which pits players who listen to their coaches and are using the fundamentals? Today the quality of play in the NCAA women's college tournament exceeds that of the NBA. Robertson has a fabulous zinger, about the Eastern Europeans wearing NBA jerseys in rising numbers: "Just as America imports cheap labor from other countries to do the jobs Americans don't want to do, the NBA turns increasingly to foreign players who do have fundamental skills and an all-around approach to the game that fewer and fewer American players--even though they may be superior athletes--can be troubled to learn." The essence of the decline of the NBA is not that pro basketball players don't play defense; it's offense they don't play. In recent years, NBA defense has been pretty good. Thirty years ago, NBA teams averaged 106 points per game; today they average 93 points, with just two current teams, Sacramento and Dallas, averaging more than 100 points a contest. Shooting percentages are way down as well; a mere 44 percent of shots are falling this season. As Sports Illustrated pointed out last week, some of the problem is that the typical NBA player is today 3 inches taller and 25 pounds heavier than 30 years ago, while the court remains the same size, meaning there is ever-less-room to get open on offense. But mainly what's going on is that current NBA defense is much better than offense. Defense is ascendant because, unlike offense, it requires little cooperation. In the man-to-man defense that NBA teams play most of the time, success is measured by exertion, and there's no problem with NBA players giving effort; they're all dripping with sweat and gasping for breath. Five guys guarding their men like crazy makes for good defense, but the five guys can be in their own little worlds; they're not running plays and rarely cooperating with each other, except on the occasional switch or "rotation." Offense, on the other hand, can't be good unless there are coordinated plays run with constant practice. On offense, good basketball requires people to subordinate their egos: moving without the ball, setting screens and back-picks for each other and, most important, constantly giving up the ball. The majority of current NBA players simply refuse to do these things. Whatever the coaches may tell them, once the game starts, whoever gets the ball on offense goes one-on-one while his teammates stand around watching. Today's 19-year-old guaranteed-contract players seem to view hard work on defense as the price they pay to do whatever they damn please on offense. Offense, in turn, is not a coordinated effort to score points for the team, but a moment of individual self-promotion during which players take turns attempting to do something flashy to draw attention to themselves. Most of these attempts fail, as evidenced by 56 percent missed shots. But why should the players care? Their paychecks are guaranteed even if they are waived. The modern NBA player cannot lose income no matter how poorly he performs, but can increase income by drawing attention to himself in order to win shoe contracts or other endorsement deals. Note what the Nike and other NBA-themed commercials always depict: one-on-one duels and slam dunks, not coordinated team play. One-on-one duels are perhaps the least exciting thing about basketball. The lay-up is often the most exciting play, because a lay-up can't happen without coordinated movement among at least two players. Next time you watch an NBA game, make a mental count of how many lay-ups there are, versus how many wild off-balance everybody-look-at-me shot attempts. Not every team has given up on offense. The Lakers and Spurs have dominated the NBA recently in part because they have the league's two best players (Tim Duncan and Shaq) but in part because they are among the few NBA clubs that still run a coordinated, disciplined offense. Other teams may have noticed that the clubs with the disciplined offenses are winning the championships. But coaches have little ability to alter this; the 19-year-olds can refuse to do anything on offense except go one-on-one, knowing they can't be penalized financially.

Join the club. Anyway, you're the one who's onto something, so I'll expect YOU to solve this.

NEW BLUE HORNS? I had that LP years ago, but never got around to picking up the CD (Riv 1134 / OJC 256)

Oops- looks like you used the same link for #7 that you used for track #1...

There were a couple of different covers for the UA LP's. I had one that looked pretty much like this, as I recall:

Mike, nice job nailing #8. How'd you DO that? B-) Big Al, nice job nailing #5. WHY did you do that? Catesta, nice job nailing #4. I spent about an hour solving it myself (knowing the tune made it possible, of course), and then came here and realized that you... er... at my lunch! (I don't think you're correct on #1, BTW, although that doesn't mean you weren't partially correct. Dan's track is longer than the version you posted... unless I'm having one of my brain freezes, that is. Also, I don't think our guitarist is Ron Eschete'). Looks like you may be right on #10... ? I'm digging track 7 quite a bit. Love that tasty piano solo (and the tenor blows nice too). To me, this sounds like the 1950's... kind of a Bill Doggett feel (not him, though, I don't think). As I found out on Ray's BFT, there was a lot of great R&B- and R&B-influenced jazz, that I've missed the boat on. I've heard of a lot of those artists, but haven't managed to check a lot of them out. This is intriguing with the organ and piano together. Seems like a light bulb ought to be going on... but I'm still in the dark. Anyway, I'll look forward to finding out what this is.

"EROWID"... Is the anagram that quickly comes to mind (for me) supposed to be obvious? (starts with "W", ends with "O"). I didn't have time to search for an answer on that site...

I think I've got one... Track 2 I've been a fan of this guitarist for a LONG time (going back to my blues days), but haven't kept up with him very well. I think of him as a "blues guitarist" rather than a "jazz guitarist", but he's always been keen to jazz. I like this track more and more, which tells me I should probably be paying more attention! Thanks for including this, Dan.

http://www.wfmu.org/playlists/AZ AH... I thought it might have been an astronaut (and maybe I was right, in a way ). Anyway, that's great- now I can lie awake thinking about something else tonight.

Jim, if you figure out what track 12 is on this disc, then you're even more of a wizard than I thought! (I think you may want to edit those last three numbers) B-)

Yeah Jim, but now I'm not only struggling with this test, I'm trying to figure out who (and what) that is in your avatar...

Ohhhhhh, PISS!!

The strange thing is, when I scrolled down that DeArango discog page, one of the first things that caught my eye was that song title. The tune sounded very familiar, but I could never have come up with that title just relying on my own brain. When I saw the title, something told me that was it. I pulled out Dizzy Gillespie's THE GIANT to play that tune, and bingo. Then it occured to me that the tenor player on Dan's track sounded a whole lot like the guy I'd come to know from his B.N.'s. Speaking of Dizzy, DeArango played (and soloed) on some of his biggies in the 40's, such as Ol' man bebop, Night in Tunisia, and 52nd street theme.

Nice lookin' unit, Chris. Here's mine, photographed from different angles : Very informative site: http://www.minidisc.org/

Definitely! B-) If you're open to vocalists, you may even want to try a few that I didn't recommend. For many years this stuff was unavailable on CD, so it's a nice opportunity.

I have about 20 Brazilian and Japanese elenco titles, including several of the above, but it's hard to know what to recommend without knowing a person's tastes. Overall, most of this is relatively "light" music- lots of vocals. I'm a hardcore Bossa Nova fanatic, and had to have a lot of these even if they're not among my favorites... just because they're on Elenco (a legendary label in Brazil). Anyway, here are some random points: The Sergio Mendes (BOSSA NOVA YORK) is the same recording as THE SWINGER FROM RIO (Atlantic / Collectables). That's a good one. REENCONTRO is also worth getting, IMO. The Jobim is nothing rare- I think it's the same as THE COMPOSER OF DESAFINADO PLAYS, on Verve. Check the track listings, if possible. I would recommend the Menescals (nice bossa combos, though not exactly strong instrumentally, in jazz terms) as well as the Nara Leao title. I have the Alves, as well as the Lara, and they're okay. I wouldn't recommend MAYSA- pretty syrupy, IMO. The Edu Lobo titles are probably solid... I still haven't heard those. In fact, there are several there that I've never heard (Ricardo, Miller, Almeida, Monteiro). I don't think any of those are essential. Too bad some of my favorite Elencos aren't listed (CAYMMI VISITA TOM; Baden Powell's A VONTADE; Nana Caymmi's NANA; Silvia Telles / Lucio Alves / Roberto Menescal BOSSA SESSION; EDU LOBO POR EDU LOBO; Luiz Eça's O PRESTIGIO; Silvia Telles BOSSA BALANÇO BALADA...). BTW, what's all this have to do with Emarcy?

Hmmm... I have audience applause on my copy! I still say that pianist sounds a lot like Oscar Peterson. The crowd doesn't sound as rowdy as a JATP audience, so I'm still not sure on that.

I've been thinking that the guitarist on TRACK 1 sounds a lot like Bill DeArango. With a little bit of luck, I hit on this pretty quickly (this tune sounded very familiar, and the tenor player sounds right to my ears): TRACK 1