Jim R

Hop Sing Hoss Big Hoss

Ed "Feldberg" Joe L'Erario Martin & Lewis

steve, did you see my post earlier in this thread?

Rob Lowe Lesley-Anne Down dirty Shane

Baby Ruth Barbara Hershey Heath Bar(kley)

Inventing it and carefully molding it into one of the most important cultural phenomena of the 21st Century are two very different things.

This comes as a surprise. I had no idea it had gotten that slow over there. That was my main hangout back around '99 (?) when JCS went down, and before the BN site was revamped, but I've only rarely logged on there in recent years.

I'm sure most people (including me) would have just done what you did, especially since you had new growth closer to the trunk. I mean, pulling the plug on a 20 year old tree seems like a stretch, unless you were advised to do so by an arborist. Speaking of which, I wonder if you have a city arborist that could advise you. Even in a large city like San Jose, we have a guy who is quite accessible (and knowledgeable, and was quite generous with his time when I spoke to him a few years ago). Have you already tried searching for pistachio info (pistachinfo) info on the web? I do like the idea of planting trees and growing old with them. When we lost a red cedar in the back yard several years ago, we planted two crape myrtles and a saucer magnolia. The crape myrtles have grown steadily, and blossomed nicely. The magnolia seems to grow about an inch per year (even failed to produce a blossom this year, after finally producing one last year). Sycamores, by contrast, grow like there's no tomorrow!

A shame, as those are lovely trees- especially in Fall (er... the season, not the activity). Seems like a very unusual occurrence... maybe a root fungus? I dunno, but I like to learn about such things, so hopefully someone else will chime in. Anyway, glad there was not damage or injury involved. Those are quite popular out here, btw. My wife's family had one in the front yard where she grew up, and it's quite massive now. We thought about putting one in our front yard some years ago, but opted for a sycamore. Beautiful tree, although it turns out I'm allergic to the damned things.

The Ellington is by far my favorite, but I can understand how/why someone with a longer history and greater experience with Ellington's music (Chuck) would see it differently. The Gershwin material probably comes in second for me. I tend to agree with TTK about the Bregman stuff being less appealing.

I loved that movie!!! Does anyone know who the guitar player was in the club scenes? TIA I don't recognize him, but he can be seen at 2:40 elapsed, here:

Still using one of these... a LOT. Casio Databank 300. I wish mine still looked this good. Don't use it anymore, but I can't seem to allow myself to get rid of it. Oh, we also have one of these (still operative, nice to have in case of power outages):

One is too many for me.

Back in the 90's, and possibly early 2000's, I converted quite a few cassettes of live recordings to digital. I used a MiniDisc recorder, which allowed me to edit the recordings (you could not only remove long stretches of silence or applause, but you could move and combine edited tracks). I would then often transfer them from MD to CDR. I still have the MD and CD recorders, but no longer have a working cassette deck (I've had three of them die on me over the last several years, including one that was recently returned to me after being loaned out to a family member). I don't miss using cassettes.

I think I see at least one Landers sister there.

I thought this thread was going to be about chocolate.

That one's in post #1.

Thanks, MG. Hope you don't feel like I'm grilling you, I just thought it would be interesting to try to get to the bottom of some things that seemed a bit vague to me (sometimes there are no clear answers, and things have to remain vague, of course). Anyway, I like to be enlightened (and enlighten others) on subjects of great interest, whenever possible. The remaining questions were with regard to your reference to track 7 as "bebop", and whether your opinion was formed independently or based on something you read (perhaps in the disc's liners). Jeff has provided his take on the specifics of this track as it pertains to the "bebop" description, but we haven't yet had yours. And since you brought it up...

First of all, MG, let's call it a debate. I don't care much for arguments either. Not trying to attack you, I just didn't understand your view, and you really didn't say much to explain where it came from (as with your comment about the tune being similar to "Now's The Time"). I find this interesting, so please understand that I'm not questioning you for the sake of disagreeing or arguing. You made what was to me a questionable statement, and I'm simply challenging it. I realize that Gene Vincent came later. I was using him as an example of why your previous answer about Williams using "bop" in the title was less than convincing to me. Looking for another answer here. Your comments about the overlaps of black musical forms from that era aside, what is it about this Williams recording that puts it in the category of bebop? Did you get something from the liner notes in this regard, or did you form the opinion yourself? You're stating it as though it's obvious, but you still haven't explained it. I'd love for someone else to chime in on this subject also. You mention "soul jazz" in reference to that era (1949 being the reference point here). When did the musical style "soul jazz" originate? Also, when did the term "soul jazz" originate? By the way, I wasn't asking those questions simply to suggest that you were using the wrong term, MG. I'm still curious to know what you think, particularly with regard to the second question, which I would think ought to have a more concrete answer.

Mel & Alan Buddy & Sally Rob & Laura

Thank you Jeff. I hadn't picked up on the specifics you mention (except for the quote, which I didn't find to be so unusual in an R&B setting), but I'll listen again with those things in mind. Maybe we can all agree that saying "this was an R&B band playing bebop" was a bit of an exaggeration. And yes, I think "jump blues" is more apt in this context. So, where do you keep the whiskey?

First of all, MG, let's call it a debate. I don't care much for arguments either. Not trying to attack you, I just didn't understand your view, and you really didn't say much to explain where it came from (as with your comment about the tune being similar to "Now's The Time"). I find this interesting, so please understand that I'm not questioning you for the sake of disagreeing or arguing. You made what was to me a questionable statement, and I'm simply challenging it. I realize that Gene Vincent came later. I was using him as an example of why your previous answer about Williams using "bop" in the title was less than convincing to me. Looking for another answer here. Your comments about the overlaps of black musical forms from that era aside, what is it about this Williams recording that puts it in the category of bebop? Did you get something from the liner notes in this regard, or did you form the opinion yourself? You're stating it as though it's obvious, but you still haven't explained it. I'd love for someone else to chime in on this subject also. You mention "soul jazz" in reference to that era (1949 being the reference point here). When did the musical style "soul jazz" originate? Also, when did the term "soul jazz" originate?

Well, this track continues to bring up contrasts in our analysis, MG. Not only does the head not remind me of "Now's The Time", I don't hear anything here resembling bebop. I hear some chops, but they sound to me like R&B chops. Anyway, there was definitely some fun listening here, and I like the way you added some obscure artists into the mix. I think it's great when we can get beyond straight "jazz" on BFT's. I think my favorites on this one were the Bartholomew and the Clovers tracks. Thanks again for putting it all together. Yeah, OK, we can agree to disagree, but Sherman Williams thought it was bop You're kidding, right? I mean... what did this guy think? http://www.youtube.com/watch?v=dWQd6FdT9Yo Song title containing "bop" = "bebop"? I think not. You added: "...which the guys probably weren’t terribly comfortable with, but did it because it was the commercial thing at the time. I find it very interesting from that point of view, even though Sherman doesn’t solo on it." So, you seem to be either forming your own opinion based on something you're hearing, or there was something written in the liners that led you to this idea. Either way, I'd honestly (and sincerely) like to know why this music should be considered "bebop". To my ears, the bari solo comes a little closer to the realm of bebop phrasing than the trumpet, but it isn't close enough to make me want to say that "this is an R&B band playing bebop". I just don't hear it. By they way, wasn't the term "bop" the commercial thing at the time, moreso than the actual musical form?