Jim R

Al, I am NOT going to kill you. That would be insane. You just reacted differently to this singer than I did, and that's perfectly understandable. Analyzing singers and their impact on us is one of the most subjective aspects of being a music lover. There's not telling HOW any of us is going to react to a vocal performance on a BFT. I can't expect you to like everything I like, SILLY! So, no worries, old pal!! Oh, I almost forgot... I'm blocking your e-mail address, so no need to write to me EVER again. Anybody know if there's an "ignore" function here yet? (Al knows I'm probably kidding, but for the rest of you... )

Unfortunately, automatically-translated webpages do have their drawbacks. "Pink singer steps" refers to singer Rosa Passos (a big influence on Reg, apparently, as well as me!). Anyway, there's always the option to click on the "view original webpage" link at the top...

I wanted to mention a few websites here... not sure if I've posted about them before. One of them is quite interesting to me, because of my past interest in jazz guitar, and some connections I had made. Many years ago, I was given a cassette tape of a 1980's LP called RESONANCE by a Canadian guitarist named Reg Schwager. The album was wonderful, and Reg was (and is) obviously a very gifted musician. He has worked and recorded with some of the biggest names in jazz, and in a variety of styles. At some point I found his website, and his e-mail contact, and wrote to thank him for all the great music. We corresponded briefly, and he mentioned that he (like I) was getting seriously interested in Brazilian music. Around that same time, Reg was posting on the Brazilian Jazz (or was it "Brazilian Music"?) thread at the Jazz Corner website. We also had had the veteran writer Jose Domingos Raffaelli, guitarist Joe Carter, and keyboardist Cliff Korman, among others participating on the thread. The thread declined in activity, I lost interest in Jazz Corner, and I lost contact with Reg (I think he went off to Brazil), and then one day I realized that there was this incredibly big and insightful Brazilian music blog on the web, which looked like it might have been organized by Reg: Brasilian Music Treasure Hunt It's searchable, thank goodness! I also found this page, which gives some background (this is the translated version): http://translate.google.com/translate?hl=e...3D%26ie%3DUTF-8 One person who was influential on Reg in terms of locating information on the internet is Daniella Thompson, who participated on some of the same Brazilian newsgroups such as rec.music.brazilian and Saudades do Brasil (I was never too keen on newsgroups, so I rarely logged on to those). She also has an amazing website, for those who are interested in digging deep into the music and its history: Daniella Thompson On Brazil There is so much information at these sites and elsewhere... there isn't enough time to read it all!

I first noticed Emilio Santiago on that "Bossa Nova 2000: 20 Anos sem Vinicius" TV show, and he impressed me quite a bit. I had heard about the recent collaberation with Donato, but I don't know much about it yet. I forget- did they do mostly Donato's songs? I'm glad to see Lumiar is still in operation after the tragic demise of Chediak. I was told that there was going to be a reissue program for their Songbook CD series (at least some of them...?). Even if they never put out another new recording, they must be one of the great Brazilian labels of all time!

Me too, seriously. If I hadn't used up all my "puppy eyes" on my wife when buying guitars, I might have thought about going after one of these myself. Nah, I'd probably have to get a cello first, but a vibraphone might be next in line!

Wow, I think I got here before couw...

Dan, I would have posted here sooner- I promise- but I was too busy on another thread to notice! So, I'm in (mail will be sent, as a formality ). OH... the thread that I was busy on? Marcus' BFT 15 discussion, of course!

Mike, I have wondered for awhile (no big deal, just curious) if you ever noticed the thread I started about Brazilian jazz. I know you're hip to most of this, so it was curious to me that you never joined in: Hard Bossa? In fact, I think it's MIKE that is the PHD around here (I'm still learning). B-) Mike, talk to Lon about Ed Motta- he's a very big fan.

New link for Track 15

I just tried the link, and it opened, and then I got a security warning message. So, I may need to post a different link. The CD features some trombonists, yes? B-) The review I read at AAJ mentions the trombones being featured (thus the title of the CD), but doesn't specify which tracks they appear on. Also, I couldn't locate any sound samples that worked for me (RA or MP3), so I couldn't verify my guess... #2... That tune is more than 50% "You're lookin' at me"!! I hear a difference toward the end of the theme, though, which is why I posted the way I did. Somebody stole a good portion of that old tune... but I know that's not so unusual.

At last, a discussion thread. Here goes... 1. This has a familiar sound to it somehow, although I don’t think I own it. Stylistically, this is somewhat later than my area of interest, and I’m not really crazy about the soprano solo, but overall I find this quite appealing. The vocal reminds me of some things I’ve heard by Ed Motta. 2. If this isn’t the tune “You’re looking at me”, then it’s something that’s very similar. Nice straight ahead feel. I don’t recognize any of the players yet... 3. This is based on the chord structure of “What is this thing called love”. Nice alto work, nice group sound. Too bad it wasn’t longer. 4. Hmm... I recognize this old bebop theme, but the title is eluding me. This recording is not from the bop era, obviously (electric piano again...). I’m not sure about this one... kind of loose on the reprise of the theme, IMO. 5. Recognized this immeditately. Track one from: This CD Classic stuff! 6. Another familiar old theme... that I can’t name! Arghhh- this is the part of these BFT’s that make me crazy. I want to say Lionel Hampton (and I just did, apparently). Gotta think more on this one... 7. Nice piece of music, nice mood, but I’m drawing a blank. Not really my favorite style. 8. The opening on this reminds me of Tyner. Not familiar with this recording, though (I don’t think!). Again, not really my thing. 9. “It don’t mean a thing...”, of course. This has a modern sound to it in terms of the recording quality. The piano solo didn’t do a whole lot for me upon first listening. Nice trades between the b & d, though. 10. Bass and drums... two instruments that I least prefer to hear in the spotlight, no matter how great the players. Most of the time, I find it difficult to identify bassists and drummers. I know that’s a flaw in my ability to appreciate jazz, but I’ve come to accept that. The sound of this piece just doesn’t draw me in at all. 11. I might put this one on if I was having trouble falling asleep. Peaceful, but rather uninteresting to my ears. 12. In general, I’m not too fond of jazz/classical fusions, and this is one of the worst examples I’ve ever heard. I really didn’t care for any part of this. Ouch. Sorry. 13. This is pretty nice, although the melody isn’t all that interesting, IMO. Nice group interaction and sound, but nothing very memorable for me here. 14. See #11. ZZZzzzzzzz... 15. “Se todos fossem iguais a você” (aka “Someone to light up my life”). One of Jobim’s great collaberations with Vinicius de Moraes (although we don’t hear Vinicius’ original portuguese lyrics here), and one of many great Jobim compositions lesser known outside Brazil. This is one of those pieces of his that almost always brings tears to my eyes- vocal, instrumental, doesn’t matter. I have quite a few versions of this song, but not this one. This relatively adventurous/jazzy interpretation causes me to “ooh” and “ahh” more than cry, though. Being that I’m a Jobim fanatic and somewhat of a vintage Bossa Nova purist, at first I thought the soul-inflected interpretation here wasn’t exactly my cup of tea. However, I have to admit that she really knows how to sing, and there were moments when I got goosebumps. Just like listening to Rosa Passos sing something that Joao Gilberto sang, this kind of updating of a classic is something that may take me some getting used to, yet I can recognize it as wonderful. I think it will grow on me. The singer has definitely listened to Nancy Wilson, IMO, although she’s not trying to be a carbon copy. I just hear some close similarities in her phrasing. Like the vocalist, the pianist is outstanding. You have to really master a song like this first before you can alter it the way he does. VERY tasty chords, and more chills down my spine. I will (of course) look forward to finding out who this is, and on what CD. I hope it’s an all-Jobim program! B-) Well, some ups and some downs for me, but that’s pretty much normal. Many thanks, Marcus! ===== edit: Hmm! I just noticed that the " B-) " smiley seems to have a new code! Great news, now we won't see so many of these smileys replacing the (b) (for "bass") in discography listings.

I'm amazed by Andy Williams sometimes. Now, I'll admit he did record some schlock from time to time, but there are also some jaw-dropping performances, IMO. With pipes like that, all he had to do was find that right combination of great song, great arrangement, and the right feeling. Jim, I don't know if you're already familiar with it, but if not, check out his version of "Maria" sometime. Wear headphones, if possible- you'll get a better sense of the dynamics that way... and you won't blow out any windows.

I'll continue to play the "old guy" role here (even though I grew up with rock in the 60's)... Johnny Mandel.

Very cool indeed! You "won" it... on eBay, or...? Anyway, that's great. Four years is a long time to dream about it, so I can understand your excitement. Have you ever had a chance to play or listen to a Traveler model? Just curious- I know next to nothing about vibraphones. Any idea how rare the various models are? Again, just curious. Let us know how this story unfolds!

No biggie. How about: Henry Mancini Michel Legrand

Cole Porter? If we're talking about the past 50 years, that would take us back to 1954. Porter was almost completely done by then. It even seems a little odd to include Ellington using this cutoff date, but I know he wrote some great things post-'54 too. I should have mentioned this in my previous post, but "greatest" is not going to make any sense here, especially with the wide-open scope of the question. Comparing Jobim and Bruce Springsteen is kind of pointless, isn't it? Maybe it's just me...

Scott, I saw that too, and had the same reaction. Just an unlucky day all around for Tim. In terms of americans playing for Man U, I'm a LOT more worried about Johnny Spector than Tim Howard. Did you see that sequence the other day where Spector gave away the ball near Man U's area, and then proceeded to give away a penalty to the guy he gave the ball to? I suppose I should expect nerves like that from an 18 year-old playing at this level, but that sequence just made me cringe.

I'll SHOCK everybody (that knows me) and say Antonio Carlos Brasileiro de Almeida Jobim.

Wilson also recorded it in July of 1970 in several unissued performances from "Memory Lane" in L.A. Looks like he was using it as a closing theme.

I was a vinyl hound for most of the 1980's and 90's. Unfortunately, stumbling onto original Blue Notes being given away by clueless moms was something that never happened in my neck o' the woods. Hmm... the owner of an original copy of Blue Train probably would have been... what... 50 years old in 1982? So, his mom would have been about 75... hmm... maybe I would have been better off hunting for a Beatles sweatshirt to replace the one my mom gave away in 1965...

It was an ugly foul, but Kezman shouldn't have retaliated. Almost started a brawl. The Roma player was going to be shown red, so why get one for himself? Also, if he is going to retaliate, he should learn how to avoid being the only one to get punched in the face.

Just to add to what I said, and to what Mike said, consider this (if you haven't already). The same website and braintrust where the aforementioned reviews can be studied offer us this: Explore by.../ Moods Featured Mood: Bittersweet [Albums] Acerbic Aggressive Ambitious Amiable/Good-Natured Angry Angst-Ridden Atmospheric Austere Autumnal Bitter Bittersweet Bleak Boisterous Brash Brassy Bravado Bright Brittle Brooding Calm/Peaceful Campy Carefree Cathartic Cerebral Cheerful Circular Clinical Cold Complex Confident Confrontational Crunchy Cynical/Sarcastic Delicate Detached Difficult Distraught Dramatic Dreamy Druggy Earnest Earthy Eccentric Eerie Effervescent Elaborate Elegant Energetic Enigmatic Epic Ethereal Exciting Exuberant Fierce Fiery Fractured Freakish Freewheeling Fun Gentle Giddy Gleeful Gloomy Greasy Gritty Gutsy Happy Harsh Hedonistic Hostile Humorous Hungry Hypnotic Indulgent Innocent Insular Intense Intimate Ironic Irreverent Joyous Knotty Laid-Back/Mellow Lazy Light Literate Lively Lush Malevolent Manic Meandering Melancholy Menacing Messy Naive Nihilistic Nocturnal Nostalgic Ominous Organic Outraged Outrageous Paranoid Party/Celebratory Passionate Pastoral Plaintive Playful Poignant Precious Provocative Quirky Rambunctious Ramshackle Raucous Rebellious Reckless Refined/Mannered Reflective Relaxed Reserved Restrained Reverent Rollicking Romantic Rousing Rowdy Rustic Sad Sardonic Searching Self-Conscious Sensual Sentimental Sexual Sexy Silly Sleazy Slick Smooth Snide Soft Somber Soothing Sophisticated Spacey Sparkling Sparse Spicy Spiritual Spooky Sprawling Springlike Stately Street-Smart Stylish Suffocating Sugary Summery Swaggering Sweet Tense/Anxious Theatrical Thuggish Trashy Trippy Uncompromising Unsettling Urgent Visceral Volatile Warm Weary Whimsical Wintry Wistful Witty Wry Yearning Are you fucking KIDDING me?

I hope I didn't give the impression that I thought Monk's later work was uninspired. I didn't mean to suggest that, even in a general way. My use of the word "uninspired" was strictly in the context of his motivation/energy/desire to make any music at all. Monk was not a cat who made compromises, and he liked to call his own shots. The notion that he made a (sane) decision to stop playing doesn't seem all that far-fetched to me. But I'm no expert on the subject. BTW, your use of the phrase "a matter of degree" reminds me... mental illness is a matter of degree (not to mention subjective, controversial, etc etc). Difficult to look at all this with much confidence, let alone certainty...

Eddie Higgins (as I said above) is NOT new. He's been around since the 50's, recorded on Vee Jay with Lee Morgan, got an invite from Blakey to be the Messengers' pianist in the early 60's, and has a lengthy (and ever-lengthening) discography as a leader and sideman. I think he has improved with age. During the 1990's, Eddie put out some great CD's on the Sunnyside label: Those Quiet Days Zoot's Hymns (quartet) Portrait In Black And White Haunted Heart Speaking of Jobim Since 2000, he's put out a nice string of CD's on the Venus (Japan) label: Again Don't Smoke In Bed Bewitched Smoke Gets In Your Eyes (quartet) Dear Old Stockholm My Foolish Heart (quartet) You Don't Know What Love Is Moonlight Becomes You (w/quintet + strings) The trio discs (all highly recommended) are: Again, Bewitched, and Dear Old Stockholm. Don't Smoke In Bed is a p-g-b trio.

Sick and tired and uninspired (?). I haven't studied this in depth, but I remember reading / hearing at least one suggestion from a knowledgeable source that he lost the desire to make music. Period. Maybe that falls under the "tired" heading. At any rate, I'm willing to cut generous slack to ANY artist who no longer feels like doing it, for whatever reason- especially if that artist has already done incredible things for an incredible period of time (in jazz, often under incredible societal, economic, and any number of personal pressures). Fortunately for us, most great jazz artists can't stop playing until they're physically incapable.