Jim R

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.

I was thinking more along the lines of some of the great comedy teams of bygone days, but I agree- I think their chemistry is special. T.J.'s big thing (even beyond Second City) is comedy improv in front of a live audience, so I'm sure he brings elements of that to the filmed spots. T.J. Jagodowski (passenger seat) and Peter Grosz (driver) are there names, btw.

http://www.youtube.com/watch?v=1P_FOVoJTmM Did not know that T.J. was a member of Chicago's Second City; and that Peter Grosz was a writer for the Colbert Report.

Weird... I could have sworn I already posted in this thread, but no. Maybe there was another one with the same theme? Anyway, tough to pick one, but I think I'd go with...

popup boxes? I don't see anything unusual on the two thread pages you linked. There are ads at the bottom of every page, but that's got nothing to do with Youtube, and it's not what mjzee was talking about. In the first thread I referenced (the stamps thread), in Bright Moments' fist post, the word 'start' is a link. If you hover over it, an ad pops up. MG Second thread. I see no link where you're describing it. I see no pop-up.

popup boxes? I don't see anything unusual on the two thread pages you linked. There are ads at the bottom of every page, but that's got nothing to do with Youtube, and it's not what mjzee was talking about.

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Regarding #7... yeah, whenever the subject of a tune resembling NTT arises, "The Hucklebuck" is always the first thing that comes to my mind (I guess I'm less familiar with the Millinder tune, although I know I've heard it- if only on Ray's bft). Anyway, I re-listened to The Hucklebuck too (even though I know it well), and... I don't hear any melodic resemblance there, either. As I said, the common blues structure is characteristic of all of these, and the rhythm and tempo are similar, but I still wouldn't draw a direct link between track 7 and these tunes other than the obvious factors I just listed, which are common to many tunes. Suggesting an "adaptation" of NTT just seems off base, imo.

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I don't understand the comments that track #7 is an adaptation of "Now's The Time". Both are 12-bar blues in terms of their chord structure, but so are about 37 million (just a guess ) other songs. I don't hear anything here- not even a riff- that sounds like it came from NTT. The saxes basically just open with a simple vamp, and the trumpet plays the only thing close to a melodic "head". It's also very simple and familiar, but I'm not sure it has a direct link back to an actual song title.

No, he meant that older one. Read again what he said.

Come on, now. Lou Donaldson certainly recorded plenty of "soul jazz" sessions, but "Lush Life/Sweet Slumber" is not one of them. Does not fit that mold at all. It's too sophisticated and highly arranged to be in that category, imo, not to mention the emphasis on ballads, and the fact that it was what Gitler referred to as a "little big band". It's one of my favorite Donaldson sessions ever, and I think it's misleading and even a little insulting to refer to it as "soul jazz". Don't pigeonhole Lou. He had plenty of range before (and after) he started emphasizing soul jazz.

Oops, I didn't realize that. I had done a search, and Taylor's name came up in more than one place, but it appears that this info may have been spread from one source (not sure yet where it started). Without a reason to doubt, I accepted what appeared to be correct, which is never a good idea. Perhaps we can get closer to the truth here as more people join in.

Taylor is a player whose name I know very well, but less so the details of his life and discography. I know he's famous for being present on several hits by other artists, most of which I've heard, and yet I don't feel I've ever really acquainted myself with the scope of his playing. He sounded great on this track, of course! I see that he has five albums listed in my jazz guide, including an LP on Moodsville, which I've never seen nor heard. I may have to remedy that. Any idea how many of the five made it to CD?

I think I sometimes unconsciously separate things like this in terms of popular music that I narrowly missed growing up with (and feels just slightly alien as a result), versus music from the same general era that I've had a desire to go back and explore, and feel a more positive connection with. In this particular case, although my objective side tells me that this is a lovely tune (and I really did enjoy hearing this version), I can't help but think of all the times I've heard the Bobby Vinton version, and all the times that I've associated this tune with schmaltz. But this is all a game that is played out in my head, and there's no legitimate explanation for some of the negative bias. One of the best things about this game is that I can change my mind whenever I feel like it. Yes, pity about Bobby Vinton's version. It was initially a hit for Frankie Laine and I can't remember it from my youth; but Laine could often sing with passion and feeling, so maybe his version was pretty good. MG Are you sure you aren't thinking of Tony Bennett? I can't find any evidence of a Laine recording. So... back to the bft... The Clovers?

I think I sometimes unconsciously separate things like this in terms of popular music that I narrowly missed growing up with (and feels just slightly alien as a result), versus music from the same general era that I've had a desire to go back and explore, and feel a more positive connection with. In this particular case, although my objective side tells me that this is a lovely tune (and I really did enjoy hearing this version), I can't help but think of all the times I've heard the Bobby Vinton version, and all the times that I've associated this tune with schmaltz. But this is all a game that is played out in my head, and there's no legitimate explanation for some of the negative bias. One of the best things about this game is that I can change my mind whenever I feel like it.

? Not sure what your point is here. Even if you're just talking about Grant as a sideman, that's not correct. He recorded on sessions led by Lee Morgan and Donald Byrd. He had Johnny Coles and Blue Mitchell on his own sessions, and of course worked as a sideman on other sessions that included trumpeters.

Had a chance to listen to the entire set today. I don't have a whole lot to say (or guess) on some of these, but here are some first impressions... 1. Stardust. Delightfully eccentric. Hilariously (really, that's a compliment) well executed. I ought to know who this is, but it's just too early for me (actually it's mid-afternoon, so that's no excuse). 2. The tune is reminiscent of "The In Crowd". The trumpet sounds familiar, but I'm not prepared to offer a guess... unless I guessed Hugh Masekela... but I'm not sure I'm prepared to guess him, so... 3. I enjoyed this. Simple forumula, very nice results. I liked the variety of tricks in the organist's bag, and I remained interested throughout. 4. A minor blues with a hip little structural twist. I couldn't place the tune, although it sounded familiar, but I know this guitar player when I hear him. What a great solo. It's brief, but he made the most of it, as he always does. He may be my all-time favorite guitar player, and I consider him to be one of the most under-rated and under-appreciated players of all time. So, once I knew who the guitarist was, it didn't take me long to realize that I own this track, which is this: http://www.radioswissjazz.ch/cgi-bin/pip/html.cgi?lang=en&m=songinfo&v=fs&sid=2253fbbd7255e3c9177b2483c5435d884301 I love this blues structure, and now I want to work out the changes, as well as ponder how many other tunes have used it. 5. I'm a big fan of waltz tempos in jazz, but this one went downhill for me after the opening theme statement. The tune tune is okay, but I don't care for the way it's repeated so much in the arrangement. It becomes monotonous. None of the solos did much for me. 6. You know... I can't recall ever hearing Misty on a BFT. Such imagination, MG! The tenor player sounds a lot hipper than the rest of the band (chords sound kind of mundane). 7. This has a sock hop sort of vibe to it, and I don't mean that in a good way. To me, this kind of take on the blues is kind of hard to listen to, like a Bill Haley record. 8. Nice funky watermelon mannish groove. Need to listen again later to see if it does more for me the next time around. 9. Simple swing tune… don't recognize the vocalist. Okay, but not much happening here for me. 10. St. Louis Blues... bored as I can be. Oh well. 11. I'm A Fool To Want You. Thought I might have this in my collection, but it appears not. I think somebody will solve this one... need to listen again later. 12. You Go To My Head. Don't recognize this vocalist either, but I'm impressed with his phrasing and polish. Nice flute work also. 13. The sound quality on this suggests that it's not as old as the style being played. 14. Blue Velvet. A tune that's a little before my time, but this is one of the better versions I've heard. 15. You've Changed. I kind of prefer a more old-fashioned version of this (like Billie), but this singer has some skills. For the time being, at least, I'm stumped on the bonus tracks.

Yes, I understand that about positioning, etc. My point was that it actually takes considerable skill (and more importantly, control) for those factors to truly come into play for someone who is serious about scoring well. Me, I just thought about keeping the ball out of the rough, out of the sand, out of the water, and inbounds. Scott, your comments about the Louisville putter make a lot of sense to me. I love beautiful objects (I used to deal in antiques and 20th century decorative arts), and that thing is indeed a piece of art.

Scott, that putter is a beauty. I hope it does the trick for you. Of all the clubs in the bag, I do believe the choice of the right putter may be the most important. Unfortunately, there are a million designs these days, so it could take years to find the right one! Larry, I laughed at the Youngman-esque orthopedist comment. "Doc, it hurts when I do this"... "Okay, don't do that". I can relate to everthing you said, though (except that I've never played a round in Hawaii, and it would never occur to me to think about risk and reward... I just tried to keep the damn ball in play). I never got all that depressed or angry on the course, but for me there was a sort of process of gradually succumbing to the realization that my self esteem was being lowered by this game I was trying to enjoy. Anyway, what makes me angry is watching the pros on tv. Shots that I could only dream about are seen as failures. They hit a green from 300 yards, and everyone is disappointed because they didn't put it within five feet of the pin! It's funny... I think my golfing life experience was kind of backward. When I began playing, I spent more time on longer and tougher 18-hole courses. Over the years, I gradually switched to playing more 9-hole courses where the long holes were 350-yard par 4's. Playing the championship-style courses became ultra-intimidating, and the whole atmosphere was just different. And Hans, the arrogant snobbish rich guys are part of that bad atmosphere for sure.

I used to play (1970's until a few years ago). In my younger days it came naturally and easily, and I always enjoyed it, even though I was never a particularly strong player. As I got older and my game got more ragged and inconsistent (ugly), I found that I wasn't enjoying it as much. In more recent years, I've had some joint problems (shoulder, knee, foot... okay, pretty much everything) that have made it even harder to play regularly, and I've pretty much given it up now. Don't really miss it, except for the fact that it used to be a good way to get out for some exercise and spend some time with a brother of mine who lives locally. I was never into updating my equipment constantly either. My wife gave me a set of Ram clubs in the 70's (persimmon woods), and I never stopped using them. The only upgrade I ever did was to buy a new putter about ten years ago (before that, I was using an old Wilson blade putter that my dad had bought probably in the 1940's). The new putter was a good decision... wish I'd bought it much earlier.

Sigh... it's bad enough when you get dominated by the opposing team, let alone having an ump work you over. Gotta tip my hat, though. You "dug" deep on this BFT, Dan, and kicked some butts. Always chose the right "pitch", "swung" for the fences, and came up with some timely "hits" with guys on "bass". Okay, okay, ENOUGH of that! The "Sessions Live" reveals really caught me off guard (wait, that's football). I remember seeing those recordings in stores, but for some reason I never took the plunge. I could have sworn that I recognized "Walk On", but I can't seem to find it in my collection. Maybe there's an alternate title... like "Flamingo Walk", or something. By the way, I googled that Bellson LP, and I don't remember ever seeing that cover before. Not that I was ever looking for it, but I've seen an awful lot of records over the years, so something like this always comes as a surprise. Don Abney, eh... all I can say is I've heard the name numerous times. I'll have to listen to that Cannonball thing again today... can't believe what I said about that track! "Chops galore, but I'm not getting quite enough soul"... where's the facepalm smiley...