Jim R

First name mentioned in first post. I think he was also mentioned as a serious candidate in that other thread, along with a couple of other bassists (Brown, Carter, Duvivier) and drummers. I'm not sure there is even any supreme being who knows the answer to this.

Wolfgang Puck Fred Rister Herb Score

What a pussy. But seriously, I used to dread that scene at her castle when Dorothy looks into the crystal ball, and... oh, never mind- I'm afraid to think about it. I still find it weird to watch the film on vhs or dvd or whatever- in any form where I'm choosing when to watch it. I grew up watching the annual tv airing with the neighborhood kids and the popcorn and Danny Kaye hosting. We didn't get to CHOOSE when to watch it, and we LIKED IT that way! These kids today...

I've never figured out what the hell that is, but it's definitely modern...

Yeah... and...? Btw, I think we had the 50th anniversary vhs when our kids were little. I don't think 70 qualifies for an anniversary release. 75, yes.

Here's a nice example of the soulful Mr. Buffalo...

Well, I hadn't visited his website for a couple of weeks, so I just discovered today that Norton passed away on October 30th, just 58 years old. He was a masterful musician, and from what I can gather, an even better human being. I never met him in person, but I almost felt like I knew him, through his music and a brief correspondence I had with him. As busy as he was, he never failed to thoroughly and thoughtfully answer an e-mail. Although he wasn't able to pull it off for various reasons, I'm still hopeful that his 1979 appearance on Austin City Limits will see the light of day again. RIP, Norton.

For more on Vince, here's a link to the previous Guaraldi discussion thread (it won't come up in a search, because his last name was mis-spelled in the thread title)... Vince Guaraldi thread

Sneezy Tom Coughlin Yogi Phlegm

Not to pile on (as JSngry already pointed out the flaw in the above), but just to add more detail, Watson really was an important guitar stylist, and a huge influence on a lot of blues guitarists who came later (I mean real serious blues players, not just the likes of Steve Miller, who copped the "Gangster Of Love" thing from Watson). Assuming he was strictly a commercial artist is like assuming Wes Montgomery was strictly a commercial artist (or any number of others who managed to make some money via a more commercial approach at one point or another in their careers).

Why is there a little man sticking his head out of John Davidson's* pants? (*I know that's not Davidson, but he could have easily been his stunt double). So, um... what the hell is up with that Flanagan/Barron cover? For starters, I can't figure out what the dark shape in the background is supposed to be (and I don't think I want to know what's going on in the foreground... ).

Now I'm officially scared, or maybe just amused... ...no, I think I'm more scared. SO many questions...

I don't know what makes me feel more relieved... this, or finding out that the kid wasn't in the flying saucer.

She's a beauty. Congratulations to all the Alfredsons! :party: :party:

beautiful dame Georgie Fame He who has got game

Well, the U.S. national team finished top of the table in Concacaf WCQ, by virtue of a thrilling comeback win at Honduras on Saturday, and another thrilling comeback (for a draw) against Costa Rica yesterday. The bad news is, one of our promising forwards, Charlie Davies, is lucky to be alive after a serious auto accident that took the life of one of the other passengers in the vehicle. As if that weren't bad enough, defender Oguchi Onyewu (A.C. Milan reserve player) suffered a torn patella tendon in the Costa Rica match and is expected to be out for perhaps four months. Puts a bit of a damper on the excitement that was building for South Africa...

An interesting subject, and one that I've pondered before (with no conclusion reached). All I know is that I have just as much love and respect for the works of Jobim, Mancini, Mandel, and others from the latter era of artful composing as I do for Gershwin, Rodgers, Van Heusen... Instead of trying to answer the question at hand, please allow me to cop out and ask another question. This is a question that one of my older brothers recently posed to me. What was (were) the last "standard(s)"? The last gasp, as it were, for a song worthy of standing on its own merits, without a unique connection to a particular artist, a song widely performed and recorded by a variety of artists, widely recognized, and if you like (up to you), adopted to some degree by jazz musicians. My sense was that it would have dated back to the early to mid-70's or so. Leon Russell's "This Masquerade"; Stevie Wonder's "You Are The Sunshine Of My Life"; one of Michel Legrand's hits of the era... maybe Van Morrison's "Moondance" (released as a single in '77). I tried to go further ahead than that, and about the closest I came was Billy Joel's "Just The Way You Are", from '79, but that might be stretching it. There's probably no answer to this one either.

That's certainly understandable... it might be another reason I never bought a cello.

Cool- must be a nice change of pace. Do you have/use a bow? I always kind of fantasized about getting a cello, but I probably could never afford the type of instrument that would really appeal to me.

Interesting thread idea. I'd need to spend more time to come up with a list, but one thing popped into my head. I was recently listening to some Brook Benton, and realized that although he (from what I understand) popularized "A Rainy Night In Georgia", I still think that Otis Rush's version is the best I've heard. I listened to some samples at the itunes store, and David Ruffin's sounds pretty nice also (and Arthur Prysock's), but I don't think anybody tops Otis. Hmm... maybe I escaped the boundaries of the original idea here. I guess there can be a widely acknowledged "best" or #1 version of a song, and ideas about what is #2; and there can be a #2 (or 3 or 4 or 5) that someone thinks should be considered for #1.

Hey Lon, not to overlook that trio of Fenders, but... what's the story on the upright bass (string bass, double bass, bass viol, contrabass... just wanted to make sure I had all my basses covered ). Maybe the story has been told, but I must have missed it (or forgot it!).

Your quoting technique could use a little work. Btw, the funny faces above were just me having a little fun with the fact that you asked if anyone knew the 350 pretty much immediately after I had mentioned that I had a 350. I had two 350's, one with two P90's, and one with a CC and a P90. They were both fantastic guitars, not necessarily "better" than the carved tops I've had, but by no means inferior. To me, every archtop (carved or laminate, full depth or thinline, full scale or shorter scale...) is different, has its own personality, and should be met on its own terms. That's one thing I loved about trying out different guitars. It was like getting to know a different person each time, and learning to enjoy them for what they were. I know... sounds corny.

Okay, thank you for that. This seems to confirm everything written by Mark Gardner in his 1969 liner notes for 7665 (included in the CD booklet). Since you're not familiar with the songs, I suppose we can't assume there was no error on 7665 (tunes labeled incorrectly in terms of matching the actual LP sequencing of the tracks), but at least we know that the labeling was the same as on the CD, and sequenced to keep the original sessions together. By the way, Rollins sat out on "Wisteria", so the tracks from the two sessions can't entirely be sorted according to whether Sonny's tenor was present or not. So, since the CD tracks were not programmed in the same order as the labeling on 7665, that's where the trouble lies in terms of the CD issue. If you are able to figure out whether the sequencing truly matched the labeling on 7665, that would be instructive. Perhaps you could find "I'll Take Romance" and "Autumn Nocturne" elsewhere in your jazz collection (if you don't have yours databased, you could search online for the various jazz versions of those tunes). No, on the CD, "Soft Shoe" was programmed 5th (instead of first), thus making the other tracks slide into different numerical positions (note that "I'll Take Romance" still follows "Confab In Tempo"; "Wisteria" still follows "I'll Take Romance", etc). One of the main reasons I bother with all of this is out of love and respect for the compositions (and the artists, in cases where their work is mixed up with someone else's). In this case, for people like yourself who aren't familiar with the two standards that are part of this confusion, I want the songs to be recognized (literally, and in the sense of being respected) and not have their identities diluted by errors like these.