Jim R

He also played some flute.

I knew I recognized the name, but it took me awhile to remember that I have him on these (and possibly others):

I was going to say the same thing. If that chair is "moderne", I'd hate to see what primitive would look like. Of course, this isn't the first non-moderne piece that's been posted in this thread...

Huckleberry Hound Augie Doggie Unnnnnnderdog

Giving credit where it's due here... We just got an e-mail from Xfinity, with the subject line: SERVICE UPDATE: We've increased your speed! This must have been in the works for awhile, and the reason for the new modems that we received many months ago. I was instructed to use the reset button on our modem, which was quick and easy, and sure enough, it does now seem to be noticeably faster.

Peppermint Patty Boss Spearmint () Charlie Postlewaite

All the best to one of the best!

Santa Santana Frank Tanana

Nolan Ryan The Lucky Strikes The KKK

We've been Comcast customers since they took over around here (15 years?), and service has really changed for the worse over time. We've never used their phone service (cancelled our land line recently anyway), but we used to be able to order a new cable box or a new modem pretty quickly and easily. In the early years, they were delivered to us (!) and installed free of charge. They sometimes used refurbished devices, but they usually worked out fine. Then, they decided to stop offering free delivery. Fortunately, it wasn't often that we needed anything, and restoring service after power outages and such remained pretty straightforward. Fast forward to last year, when they offered a free service upgrade with higher speeds and brand new modems. When we received the new modem by mail, we followed their installation instructions, and of course, no dice. When I called them to try to resolve the problem, I began a whirlwind tour of the United States (and possibly other nations) by phone. I was transferred to operators and tech support people in Phoenix, Nashville, and Boston, before being re-routed back to somebody on the west coast. Then, I got transferred to another regional operator, and then I got transferred to Boston again, and then... etc etc. What a nightmare of a day. My 22 year old son ended up solving things with a little youthful magic and experimentation, so I didn't go completely insane. The new modem doesn't seem any faster, by the way.

Brad, we're both veterans here, and apparently we have similar posting habits. I feel like I've been stuck in the 6,000's for the last nine years. Some of us simply don't go around shooting our mouths off all the time.

Based on the brief "tease", plus the "Blue Mist" performance from around that same time, I would actually look forward to seeing it more for Burrell and Kessel than for Green. Hopefully we will all get to see it one day, and we can all have an informed opinion. My opinion of Kessel, in this kind of company, is you would probably get to hear how his playing is more connected to the swing and hillbilly times, Dandy fashion sense notwithstanding. I suspect when his chord melody schtick is taken out of the equation, he would reveal himself to suffer from the kinds of limitations that are pejoratively thrown Greens way - ad infinitum. Certainly Burrell shines in the London performance, his lines and tones are very edgy for the context. But Burrell could get very third streamy and aspirational in his own greasy way...if you think that might float your boat. First of all, I love Grant Green. My comment had more to do with how much I also love Kessel and Burrell, and the state of Grant's playing and his style at that particular time. I don't agree with all of your comments, but that's a common scenario on discussion boards. I do know where you're coming from with regard to BK, and I probably share some of those sentiments, but I think you're going overboard with the disrespect. No need for that in the interest of propping up Green, imo. The man's chord and chord/melody playing was highly advanced and seminal, in addition to being distinctive and wonderful. That last comment about Burrell possibly floating my boat almost makes me wonder if you think I'm new to this stuff...? (same thing with what I would "get to hear" from Kessel...?). Whatever. I know what I like, and I know pretty well what to expect should the video surface.

The veteran actor/comedian Larry Miller does a weekly podcast, which includes a regular slot devoted to what he calls (coincidentally) "The Poetry Corner", where he reads classic poetry. Worth a listen, imo. http://lmblog.adamcarolla.com/

Based on the brief "tease", plus the "Blue Mist" performance from around that same time, I would actually look forward to seeing it more for Burrell and Kessel than for Green.

I hadn't seen this in awhile, and don't recall if it's been shared around here, and it's fabulous, so...

Robert Wyland Robert Lyn Nelson Christian Riese Lassen

Radio Nurse by Isamu Noguchi George Gershwin by Isamu Noguchi Isamu Noguchi by Arno Breker

Joachim Loew Joakim Noah Alan Arkin

Thanks for that. Interesting, especially the re-title (not surprising, though). Anyway, I don't have this recording, and doubt I've ever heard it (even though I have a lot of Jordan recordings).

Thanks Larry and James. I should have mentioned that I had considered "Locomotion". My trombonist older brother, who has done his share of helping to educate me over the years (though he's not a "jazz educator" by profession), actually suggested that to me recently. I'm kind of on the fence in terms of whether that's a close enough match to explain this intriguing sensation I've been getting from "My Blues". Obviously, the head on Locomotion has a pretty strong similarity to the opening head on My Blues, but when the layered harmonies kick in (and I feel like that part is what really sounds familiar to me), we're moving away from the relative simplicity of Locomotion. [...still scanning "The Flip"...]

It still seems a bit odd to me that despite no other recordings of the tune by Hampton, and few (? I'm still not sure on this) recordings by others; and the fact that this album was not exactly widely circulated (neither the Prestige nor the MPS albums seemed to turn up much, and likewise for the eventual CD issue), the tune not only has a very strong ring of familiarity to me, but is a vehicle for high school and college ensembles. I guess I may just have to get over it. Anybody else have thoughts? Slide's arrangements for large ensembles are much revered and readily available. Do a search of his "charts" or "arrangements" and you'll appreciate why educational ensembles might be drawn to his work. Maybe I wasn't clear. I'm not surprised that educational ensembles would select Slide Hampton's arrangements, and I realize that he is revered for his arranging. What surprises me is that it's difficult to find any recordings of this tune, anywhere, under that title, not even by Slide himself, and yet I find the two Youtube ensembles, and as I said, this isn't exactly an album that's well known in jazz circles, and was relatively difficult to locate on LP or CD for years. It's not like we're talking about a jazz album that's relatively popular. It isn't even close to being one of Dexter's most widely circulated albums. Then there's the feeling of familiarity of this tune, which Kevin also felt but couldn't put his finger on. Still wondering if there's something very similar on Blue Note (or another label), if not a "borrowed" version under a different title altogether (which I'll admit seems less likely).

Thanks Kevin. Good to know that I'm not the only crazy person here.

It still seems a bit odd to me that despite no other recordings of the tune by Hampton, and few (? I'm still not sure on this) recordings by others; and the fact that this album was not exactly widely circulated (neither the Prestige nor the MPS albums seemed to turn up much, and likewise for the eventual CD issue), the tune not only has a very strong ring of familiarity to me, but is a vehicle for high school and college ensembles. I guess I may just have to get over it. Anybody else have thoughts?

Thanks Dan. My best guess right now is that there's another well-known tune (perhaps even from a Blue Note date) that has strong similarities.

For me, I think I can now start measuring "a while" in terms of decades. Of course, even though I generally avoid the website, I encounter data lifted from there and presented elsewhere. One thing I can't stand is the way they mix in the names of engineers, photographers, producers, liner note writers, etc etc into the list of personnel on a session. Not that those people don't deserve their credits, but can't the musicians be listed sequentially, first? At any rate, I still don't trust them for accuracy.