neveronfriday

Proof ... Organissimo in south-western Germany, unfortunately the only copies I'm aware of in the area.

I bought both albums, thrice (twice as presents).

This might be old, don't know, but it was new to me. Something to file away for future use.

No chance of keeping it here or elsewhere? Idea: Move it/keep it here and ... put some community code into place; ... get ten respected members to police it; ... figure out a way of financing (larger parts of) it. Interested/ideas? Post here. P.S.: The other thread is locked and what I wanted to post as a response there I'll send to Jim as a PM later this week.

The tense is off. I'd use past tense here.

That would be "sexually transmitted diseases", right?

Man, they're really recycling that series. Gotta update my list.

Count me in!

I'm sorry, but I totally disagree. This is one of Bellson's weaker outings. I find it rhythmically bland/boring. Sorry. Edit: This comes from a drummer who appreciates lots of Bellson stuff. Just not this.

All these points just lead to the conclusion that there is definite need for an "open source" project to which people can contribute freely. If needed. that project group would also have to fight off copyright infringement cases brought to court by people who claim the have a copyright although they don't. I have no idea how easy/difficult that might be in one country/various countries. Technically, it should be more than easy to pull off, but are there any people who have the stamina to do so? Probably not.

I'll raise you by one you can keep erect for 5 days straight. How about that? Ha!

a) He did. b) If there ever was a guy I would have liked to throw darts at, it was him. Besides that, I would agree with much of what has been said about the Who, but I mainly wanted to second, third or whatever the Kinks recommendations. IMO music didn't come much better than on those early albums, my faves being Face to Face and, especially, the Village Green one. I still think Something Else is a shaky affair, still quite good though. Ray Davies had brains, to boot, and that's probably why the Village Green Preservation Society did quite poorly in comparison to what the Beatles and the Stones had on offer. It stood the test of time and even survived the '68 turmoils. Great album!

Yeah, I remember reading that WSJ article. Yeah, right.

Reading and grasping a post before responding to it might also be regarded as a measure of intelligence. I wondered if vol. 8 was as sloppy as the previous volumes have been--that is an observation followed by a question, not a chronic complaint. Man, relax, I didn't even read your post. I was referring to complaints that pop up all over the place regularly. Ja, så må du undskylde! "Den man elsker tugter man."

Reading and grasping a post before responding to it might also be regarded as a measure of intelligence. I wondered if vol. 8 was as sloppy as the previous volumes have been--that is an observation followed by a question, not a chronic complaint. Man, relax, I didn't even read your post. I was referring to complaints that pop up all over the place regularly.

I would consider this to be a much more intelligent thing to do than just complaining about it everytime the program is mentioned.

Yeah, I've been over there and read most of it. One I liked was that one from a producing/directing gig in Paris: "I had four cameras and was screaming half the time at the guys because they couldn't hear through the intercoms as it was so loud. I even had a hand-held Éclair they outfitted me with. All I did was shoot ALL THE CLOSE-UPS like I knew when Johnny Hodges was going to stand up and solo, so I hit him with an ECU and that's all I did for 3 days. Mr. ECU and glad-handing all the performers, half of whom I already knew, and half of whom looked at me like I was dirt, especially Monk, but when Oscar told him who I was in music, he at least was civil to me and nodded when I said some things, like "Play it towards us when you can!" Of course he didn't." Made me laugh. Or this title (interesting): "BASSEY BITCH" Quite a quirky collection of remeniscenses.

Yeah, I was wondering the same. Up and left? Do you think I was kidding about the menders? Nope. I was wondering about the "never came back" part.

Yeah, I was wondering the same. Up and left?

Funny that all the Ella et. al. work is referred to here all the time (which isn't my favorite either). The topic I chose was the "Swinging Kicks" album because, as far as my somewhat limited Bregman experience goes, it is quite a bit different (in my eyes) from anything else I've heard by him. I guess I've picked a CD here that hardly anyone really knows ... or didn't touch because of a rather negative experience with earlier or later material recorded by him in various settings. I'd therefore be especially interested in hearing from (more) people who have actually checked this session out, perhaps in even more detail, and can maybe formulate those things I don't have the appropriate vocabulary for. What made this session (if you agree) work better than the others? Stuff like that. Cheers, and thanks everyone for your input! Much appreciated.

Interesting bit about May. I also know the Swinging Standards session, but wasn't impressed by it. With all the talent assembled, it swung ... but was a pretty bland affair (I had a Lonehill release and actually got rid of it). "Swinging Kicks" surprised me in comparison. There are some great ideas here and the arrangements are much tighter. There is constant change and surprise. This is certainly a varied bag of goodies. You have horn lines bordering on the aggressive to ones that are silky smooth. And it is quite modern in a lot of places compared to the "Swinging Standards" release, which is pretty boring in comparison. It's almost as if every other tune was arranged by someone else. The frustrating thing is that some tunes just appear like sketches of ideas that he didn't have time to flesh out. Others seem like emulations of other big bands. The other day I was listening to Mosaic sets of Ellington and Basie and, funnily, quite a bit of that Bregman session fit right in there.

Yeah, it's quite a line-up: Conte Candoli Trumpet Pete Candoli Trumpet Maynard Ferguson Trumpet Conrad Gozzo Trumpet Ray Linn Trumpet George Roberts Trombone Milt Bernhart Trombone Frank Rosolino Trombone Lloyd Ulyate Trombone Herb Geller Alto Saxophone Bud Shank Alto Saxophone Georgie Auld Tenor Saxophone Bob Cooper Tenor Saxophone Ben Webster Tenor Saxophone Stan Getz Tenor Saxophone Jimmy Giuffre Baritone Saxophone André Previn Piano Paul Smith Piano Al Hendrickson Guitar Joe Mondragon Bass Stan Levey Drums Alvin Stoller Drums

Just got notification that mine's on the way.

Buddy Bregman's "Swinging Kicks" (Verve By Request) is one of those few sleeper albums I have stumbled across in the more dusty areas of my shelf system lately. I've had it for quite a while and it has - ever since I liberated it from collection obscurity - become one of my favorite "start the weekend" CDs. It's difficult to explain, but as fragmentary as that session seems, with many titles under 2 minutes long, I find it endlessly fascinating. It's also frustrating at times because it seems that a lot of this material could have developed into great stuff ... and then, in some cases, get's shrugged off in 01:24. I have little to no knowledge of Bregman aside from his Fitzgerald and Crosby stuff, and just reading up a bit on him it seems as if he was/is all over the map musically and in many other ways. Does anyone know if this session was really a one-shot for him? Any sessions on which he might have expanded on some of the ideas in the rough here?