Jim R

Mone, Mone, Mone. Were you skimming? You and SDC Steve (and of course Larry Nagel) were the reason I brought it up here (earlier... read back a ways).

Thanks guys. Very well explained. I'm learning already...

Um, maybe I wasn't clear enough. I was hoping for a little clarification on how to notate moves. Are there two major approaches? Which one are you using here so far? Also, if two corresponding pieces (for instance, the two white rooks) are capable of moving to the same space, do you specify by putting a Q or a K before the "R"? Are the space designations (such as "f6" in your current move) conceived according to which side of the board you're facing, or do both players refer to each space by the same designation? Like I said, it's been awhile.

There was a cat over at Al Jones' JAZZ TRADING POST site that went by the name "Virgil Starkwell". I'd break up every time I hit the home page. Maybe he's among us under another handle... ???

I think Malone is really incredible, in terms of technique. I still haven't heard a recording by him that really grabbed me, unfortunately. I think he used to have a tendency to rely too much on his technique, instead of developing a unique individual sound and approach. I haven't heard him in awhile, though. Green seems to sound better every time I hear something by him. Let us know how it goes!

I thought all the Barclays had been reissued in improved sound, but maybe I heard wrong...

Book? What book? But seriously, JK, like I said, I'll play if there isn't interest from any real players out there. Not an ego thing with me. I don't care if I lose, or even look foolish in doing so. To me, chess is challenging, even if I've never taken it seriously. My problem is, it takes up a LOT of time for me. I don't like to (and really can't) play quickly, and I don't have enough practice to see the whole board the way a seasoned player does. I don't necessarily have a LOT of time to spend on this right now, so I'd still prefer to watch (and maybe learn something in the process). Speaking of learning, how many different systems are there for notating moves? I think there were two that predominated over at Jazz Corner, but I really have no idea (I think I had help with the basics in order to participate over there, but it's been awhile!).

The portuguese lyrics for Jobim's "Chovendo na roseira" (aka "Double rainbow") include the name "João" in the opening section: Olha Está chovendo na roseira Que só dá rosa mas não cheira A frescura das gotas úmidas Que é de Luiza, que é de Paulinho, que é de João, Que é de ninguém... Here are some vocal versions which might be available (or you could search for an audio sample online): Antonio Carlos Jobim & Elis Regina- Elis & Tom- Verve Gal Costa- Ao Vivo / Canta Tom Jobim- BMG Rosa Passos- O Melhor De Rosa Passos- Velas Ana Caram- Bossa Nova- Chesky [Warning: This music is addictive. Which is why I'm always recommending it. B) ]

Red meat, pastries, and alcohol Oh- and just keep gas in it:

It definitely goes in phases for me. Over my entire listening history, I can't even pick out one that I know I've spent more time listenting to than others. Dexter would be up there for me, Miles, Chet, Sarah, Kenny Burrell... Jobim, and Joao Gilberto. My latest jazz fascination has been pianists, and I've been focusing a lot on Eddie Higgins and Bill Charlap.

... Well, I'm hoping that somebody who actually plays the game (on a regular basis) might want to take her on. The last time I played a game was 1999, and that was the aforementioned match at Jazz Corner. The last time I played before that was probably around 1979, against our old Atari 2600! Like Big Al, I'm probably better off taking on my son. I think I could still handle him... Since I was the one who opened my big mouth, though, I would give it a shot... if nobody else wants to go for it.

cs500, I understand what you're saying, and I fully respect your "position" (sorry, couldn't resist ). I just wanted to mention that my suggestion, in general, was only meant in the spirit of fun, comraderie... a "recreational" competition. I know that for serious players, the notion of a "fun" game probably presents issues, as you have already pointed out. Anyway, as far as I'm concerned, online chess can be fun, and the idea that somebody might be using a computer against me is irrelevant, IMO. In fact, it's silly. I know the object is to win, and one should always try to win, but if somebody is insecure (and deceitful) enough to cheat in order to come out on top in a situation like this, then I feel sorry for them. In other words, as long as we're talking about a recreational game where nothing is at stake, then I don't think this is a relevant issue. But I still see where you're coming from otherwise.

Over at Jazz Corner, there were a couple of guys that used to play online. I even tried it there once myself, despite the fact that I knew I was underqualified (I lost, but wasn't humiliated). Anyway, I noticed that there's a game going on there currently: Chess game at JC Maybe a few of you guys could do the same thing here... or better yet- challenge the Jazz Corner champion to come over here for a match!

"zhwow zheelBAREtoe" is pretty close, but you'd have to listen to a Brazilian say it a few times to really get it right. B)

Welcome back, Gary. I too hope things will go better for you.

I'm sorry to hear this, but what a nice career he had. Just thinking about all the people he played with... I only have about three sessions by him as a leader, but he's all over the place as a sideman on sessions led by the likes of Chet Baker, Bill Holman, Tal Farlow, Dizzy Gillespie, Paul Chambers, Woody Herman, Carmen McRae, Lennie Niehaus, Anita O'Day, Joe Pass, Gerald Wilson... and many more. I still remember his occasional features on the Carson show as well. Gotta spin some Perk today...

For many years, even after the advent of their CD sets, I don't recall that any of the sets I bought from Mosaic (boxes or jewel cases) were sealed at all. I think the first set I bought that had sealed jewel cases was the Mobley set (which I bought from Shrugs). Is my memory foggy, or did Mosaic begin sealing the jewel cases a long time ago?

B) = Bass

I agree with Lon and the others who praised this set for what it is. The bottom line is, the musicianship is quite high, and Hackett is just plain fun to listen to. Between "At the Embers" and "Quartet", I think I prefer the latter. "Embers" is not bad at all, but "Quartet" is slightly hipper, IMO. Give it a shot! For $1.99, how can you go wrong? Here's the complete Mosaic discog, for what it may be worth: DISCOGRAPHY Although Bobby Hackett switches freely between cornet and trumpet throughout his career, the majority of his Capitol work was done on cornet and are listed as such. For the purposes of this discography, only initial LP issues are used. SOFT LIGHTS AND BOBBY HACKETT: (A) Bobby Hackett (cor), Lou Stein (p), Billy Bauer (g), Arnold Fishkind (B), Denzil Best (d), string quintet (four violas and one cello), probably Sid Feller (arr). NYC, May 11,1953 20130 That Old Black Magic H 458, T 458 20131 The Song Is You - - 20132 You Turned The Tables On Me - - 20133 Someday You'll Be Sorry - - (B ) second session. same.personnel as (A). NYC, May 11,1953 20134 Easy To Love H 458, T 458 20135 Soft Lights And Sweet Music - - 20136 I Cried For You (Now It's Your Turn To Cry Over Me) - - 20137 Bobby's Blues - - ______________________________________________________________________________ IN A MELLOW MOOD: © Bobby Hackett (cor), unknown piano, guitar, bass and drums with French horns, reeds and harp arranged and conducted by Glenn Osser NYC, November 7,1954 20519 Deep Night T 575 20520 Mood Indigo - 20521 All Through The Night - 20523 Flamingo - All titles issued on Cap.T 575,CD Coll. Choice CCM 164-2. (D) Bobby Hackett (cor) with unknown vibes, piano, guitar, bass and drums, Glenn Osser (arr).. NYC, November 9,1954 20522 Rain T 575 20524 Serenade In Blue - 20525 Lazy River - 20526 Get Out Of Town - (E) Bobby Hackett (cor) unknown piano, guitar, bass and drums with trumpets, French horns and reeds arranged and conducted by Glenn Osser NYC, November 10,1954 20538 Carefree T 575 20539 You're My Thrill - 20540 Stars In My Eyes - 20541 In A Sentimental Mood - ________________________________________________________________________________ SOFT LIGHTS AND BOBBY HACKETT: (F) Bobby Hackett (cor) with unknown piano/celeste, guitar, bass, drums and. string quintet (four violas and one cello). NYC, July 18,1955 20813 How About You? T 458 20814 Under A Blanket Of Blue - 20815 Sleep - 20816 It's All Right With Me - ________________________________________________________________________________ RENDEZVOUS: (G) Bobby Hackett (cor) with unknown vibes, piano, guitar, bass and drums, Glenn Osser (arr). NYC, January 23,1956 20988-10 Isn't It Romantic? previously unissued 20989 Cocktails For Two T 719 20990-3 If You Were The Only Girl In The World previously unissued 20991-9 Together - (H) Bobby Hackett (cor) unknown piano, bass and drums with French horns, reeds and harp arranged and conducted by Glenn Osser NYC, February 13,1956 20999 Autumn Nocturne T 719 21000 We Kiss In A Shadow - 21001 The Way You Look Tonight - 21002 Love Me - (I) Bobby Hackett (cor) unknown piano, guitar, bass and drums with trumpets and reeds arranged and conducted by Glenn Osser NYC, February 15,1956 20998 The Very Thought Of You T 719 21003 One Kiss - 21004-6 My Heart Stood Still previously unissued 21005 Thank You For A Lovely Evening T 719 (J) Bobby Hackett (cor) unknown piano/celeste, guitar, bass and drums with reeds arranged and conducted by Glenn Osser NYC, April 3,1956 21067 When I'm With You T 719 21068 You Are Too Beautiful - 21069 Moonlight Becomes You - 21070 Two Cigarettes In The Dark - ________________________________________________________________________________ GOTHAM JAZZ SCENE: (K) Bobby Hackett (cor), Dick Cary (E flat horn), Ernie Caceres (cl, bari), Tom Gwaltney (cl, vbs), Mickey Crane (p), John Dengler (tuba), Milt Hinton (B), Nat Ray (d). NYC, March 27,1957 21451-5 Caravan T 857 21452-13 Lazy Mood - 21453-8 The Continental - (L) same as session (K) except Al Hall replaces Milt Hinton. NYC, April 4,1957 21454-10 In A Little Spanish Town T 857 21455-3 Tin Roof Blues - 21456-11 Albatross - 21457-4 It Don't Mean A Thing previously unissued 21463-6 Cornet Chop Suey T 857 (M) same as session (K) NYC, April 10,1957 21480-9 Henry Hudson T 857 21481-5 Wolverine Blues - 21482-4 Rose Room - 21483-5 At The Jazz Band Ball - ________________________________________________________________________________ DON'T TAKE YOUR LOVE FROM ME: (N) Bobby Hackett (cor), Cutty Cutshall, one or two unknown (tb), Dick Cary (E flat horn), Bob Wilber (ts,ss), four unknown (saxes & reeds), Dick Hyman (p, harpsichord), unknown (g), John Dengler (B), unknown (d,tambourine), three females (background vocals), David Terry (arr, cond) NYC, November 27,1957 21793 Autumn Serenade T 1002 21794 Moonlight Serenade - 21795 The Thrill Is Gone - 21796 Softly As In A Morning Sunrise - (O) same as session (N). NYC, December 12,1957 21809 Put Your Dreams Away T 1002 21810 Zigeuner - 21811 A Handful Of Stars - 21812 If I Had A Million Dollars - (P) same.as session (N) NYC, December 19,1957 21815 Ev'rything I Love T 1002 21816 Wonderful One - 21817 Don't Take Your Love From Me - 21818 Street Of Dreams - ________________________________________________________________________________ AT THE EMBERS: (Q) Bobby Hackett (cor), Pepe Moreale (p), John Giuffrida (as John Giuff) (B), Buzzy Drootin (d). NYC, May 6,1958 22126-12 C'est Magnifique ST 1077 22127-11 Spring, Beautiful Spring - 22128-13 All Of You - 22129-5 Rosalie - ® same as session (Q) NYC, May 7,1958 22130-19 Cheek To Cheek ST 1077 22131-9 It's Been Su Long -1 - 22132-6 If I Had My Way - 22133-10 That Naughty Waltz - -1 mistitled It's Been A Long, Long Time on the original album. (S) same.as session (Q). NYC, May 8,1958 22134-11 Paradise ST 1077 22135-9 I'll See You In My Dreams -1 - 22136-10 If You Were There - 22137-9 My Monday Date - -1 Moreale plays celeste on the opening and closing melodies. ________________________________________________________________________________ BLUES WITH A KICK: (T) Bobby Hackett (cor) with (collective personnel) ): Dave McKenna (p), Nicky Tagg (p, org), John Giuffrida, Milt Hinton (B), Joe Porcaro (d), Harry Breuer, Phil Kraus (vbs, perc), string section (nine violins, two violas and two cellos), Stan Applebaum (arr, cond) NYC, November 25,1958 22471 Sugar Blues ST 1172 22472 Baker's Keyboard Blues - 22473 Blues With A Kick - 22474 Limehouse Blues - (U) same as session (T) NYC, November 25,1958 22475 Alcoholic Blues ST 1172 22476 Blues In The Night - 22477 Good-Bye Blues - 22478 Blues In My Heart - (V) same as session (T). NYC, November 26,1958 22479 Bye Bye Blues-1 ST 1172 22480 Weary Blues - 22481 Wang Wang Blues - 22482 Davenport Blues - -1:McKenna or Tagg plays celeste. _______________________________________________________________________________ THE BOBBY HACKETT QUARTET: (W) Bobby Hackett (cor), Dave McKenna (p), Bob Carter (B), Dick Scott (d). NYC, March 24,1959 22637 Don't Be That Way ST 1235 22641 Stereoso - 22642 High Society -1 - 22643 Stompin' At The Savoy - 22644 You Stepped Out Of A Dream - -1 It's possible that "High Society" was remade on March 25 and that the master comes from that session. There is conflicting information in the Capitol files. (X) same as session (W). NYC, March 25,1959 22642 High Society (remake) (see footnote for March 24 session) 22645 Bernie's Tune ST 1235 22646 Swing That Music - 22647 Kahakalau - 22648 Michelle - 22649 Undecided - (Y) same as session (W). NYC, March 26,1959 22650 It Don't Mean A Thing ST 1235 22651 The Lady Is A Tramp - ________________________________________________________________________________ HAWAII SWINGS: (Z) Bobby Hackett (cor), Bob Wilber (cl-1, ts-2), Lou Stein (p), Bill Kahakalau (steel g), Billy Bauer or Bucky Pizzarelli (g, ukulele), Bob Carter (B), Dick Scott (d), Johnny Cresci (bgo). NYC, April 13,1959 22696 Kohala March -2 ST 1316 22697 Robby-San -1,2 - 22698 Puamana (Sea Breeze) -2 - (AA) same as session (Z) except Dave McKenna (p) replaces Stein. NYC, April 17,1959 22708 Hawaii Swings -1 ST 1316 22713 Maui Chimes -2 - 22714 Hapa Haole Hula Girl -2 - 22715 On The Beach At Waikiki -2 - 22724 Song Of The Islands -1 - (BB) same as session (Z) except Stan Brauner (fl-1, cl-2, b cl-3, ts-4) and Dave McKenna (p) replace Wilber and Stein. NYC, April 27,1959 22739 Orchids From Hawaii -1 ST 1316 22740 Soft Sands -2 - 22741 Ku Nei -3 - 22742 Aloha Oe -4 - _____________________________________________________________________________ EASY BEAT: (CC) Bobby Hackett (cor), Pepe Moreale (p), Bill Cronk (B), Buzzy Drootin (d). NYC, November 24,1959 22947-12 'Tis Autumn ST 1413 22948-1 Take The A Train - 22949-8 Sleepy Lagoon -1 - 22950-20 Anytime, Anyday, Anywhere - 22951-6 Bright Eyes - -1 Moreale plays celeste on introduction and the opeing and closing melodies. (DD) same as session (CC). NYC, November 25,1959 22952-9 I'm In The Market For You -1 ST 1413 22953-3 Mr. Wonderful - 22954-1 What's New? - 22955-10 Embraceable You -1 - 22956-12 Too Close For Comfort - 22957-8 C'est Fini -2 - 22958-3 Prelude To A Kiss - -1 Moreale plays celeste on introduction and first melody. -2 Moreale plays celeste on introduction, first melody and ending. ___________________________________________________________ Some or all original sessions produced by Andy Wiswell Produced for release by Michael Cuscuna Transferred from the original mono and stereo masters in 24-bit and mastered by Ron McMaster, Capitol Mastering, Los Angeles Sessions A-P are mono. All others are stereo. Special thanks to the Institute Of Jazz Studies. Masters appear courtesy of courtesy of Capitol Records, Inc. This compilation (p) 2001 EMI-Capitol Music Special Markets. Product of EMI-Capitol Music Special Markets, 1750 N. Vine Street, Hollywood, CA 90028. All rights reserved. Unauthorized duplication is a violation of applicable laws. Printed in the U.S.A. © 2001 Mosaic Records, L.L.C., 35 Melrose Place, Stamford, CT 06902. All rights reserved. Producer's note: Because of the carefully constructed nature of many of these albums, we have maintained the original LP sequence in all cases. We have paired the albums by musical concept. Discs one and two contain the quartet plus orchestration albums. Discs three and four start with the jazz octet he led at the Henry Hudson Hotel in 1957 and contain all of the quartet recordings. Disc five contains the two thematic concept album.

I just couldn't resist starting a topic to formally welcome my friend Ron Thorne to this board. Ron's main hang is Jazz Corner, but even a few posts here from this experienced gentelman will be a welcome thing (especially for the drummers in the house!). [Note: I know Ron's not much of a fan of smileys, thus I avoided the usual temptations for this occasion]

Count me in as a Paul Chambers fan. PC is about as well-represented in my collection as any musician in jazz. Now, the other reason I wanted to post here... Welcome Ron Thorne !

I had a couple of those LP's when I was in high school in the early 70's. "Coryell", "Fairyland", "Spaces" and possibly a couple of others... I can't remember anymore. Coryell had a lot of energy, a lot of technique, and a lot of youthful curiosity at the time. I remember liking a cut here and there ("The Jam With Albert" was probably my favorite), but I didn't keep those records for very long. Not really to my taste, especially now, but definitely some "interesting" music. I wonder what Larry himself would have to say about them now...?

A couple of thoughts. First of all, this is a classic session, without a doubt. Joao Gilberto was magic, especially in tandem with Jobim. They had already begun to make history before this session took place, and when you add in Getz and his natural way with this music, it was a magical confluence of talent. Bossa Nova is of course a stereotyped term, and a stereotyped genre. As far as its place in the consciousness of most americans, has never escaped the stigma attached to it during the worldwide craze that occurred in the 60's. A lot of people probably still think it was a dance, or something that originated with Eydie Gorme. Musically speaking, I think it is also a mistake to think of Bossa Nova as simple. It can be relaxing, and some of the melodies can be simple, but in terms of its original conception, this was (and still is) sophisticated music. It is the watered down material produced outside Brazil (mostly in the U.S.) during the craze that became simplistic. Compositions like "Desafinado" and "Chega de saudade", especially in their original form, are not simple to play. When you look at some of Jobim's original sheet music, and try to play it correctly, that's difficult enough. When you then try to master the rhythmic style of Joao Gilberto... forget about it! It's nearly impossible to reproduce that. The same can be said of his vocal style. Now that I've thoroughly explored Bossa Nova and Brazilian Jazz from the 50's and 60's, listening to this album (although still very enjoyable) is just slightly less thrilling than it used to be. As great as Getz plays on this, it's still a "fusion" of two cultures, and less pure than listening to the original recordings from Brazil. Much of the other Getz material from the era is even less appealing to me (Charlie Byrd just doesn't cut it once you've listened to Gilberto or Oscar Castro Neves; and Buddy Deppenschmidt was no Edison Machado It's all good, of course, but I gotta be brutally honest). I also have never gotten a great deal out of listening to Astrud. She's not a "bad" singer, but her popularity and eventual commercial success was really more about being in the right place at the right time (well documented tale).

One of my favorite Dorham albums on any label. Ghost, I've had that "weird fetish" for years! B) Recapturing my childhood, you know. I hope you have the Wilbur Harden/Tommy Flanagan version of "The King & I" on Savoy.

Happy Birthday to the Chairman of the boards! Now, insert your favorite Brazilian disc into your player, kick off your shoes, grab a sambawich (you can blame Big Al for that one B) ), and reeeeelaxxxxx....