Kalo

What's wrong with regular old boiled chicken?

Good to know.

Knowing how you feel about strings, I'd say you definitely wouldn't dig it. Don't get it folks, what's wrong with strings, when they're arranged as well as on this album, by Tadd Dameron? Come on... MG Hey, I've got absolutely nothing against strings. Except when they're unnecessary. If I was totally against strings I wouldn't have bought Smooth As the Wind in the first place. Actually, the arrangements on this are quite tasteful and swinging. Still, it's not connecting with me as much as I hoped, but I find I have to be in a certain mood to dig this kind of album.

2004 Limerick Lane Zinfandel Collins Vineyard (Russian River Valley, California) A freebie from work. Not bad!

I have a lot of respect for DD, but haven't heard near on everything he's recorded. I saw him live a long time ago when he was in Horace Silver's band. Of what I've heard, I like the hat Art Tiny Bell Trio disc Constellations as a leader date; as a sideman, his appearance on the Misha Mengelberg Quartet's Four in One is a winner. I also like what I've heard of his recordings with Zorn's Masada.

A buddy of mine who claims Murakami as his favorite author recommends Wind Up Bird Chronicles as the best starting point. Could be that that's the peak...

Never ran across it myself, though I wasn't actually looking. Seems to be rather elusive, no?

Hey, if Cate Blanchett can play Bob Dylan, I don't see why Aki Takase shouldn't play Fats Waller.

Great minds think alike - I was playing that the other day. MG Good call! I'll have to pull that one out when I get home tonight. I've gone T-Boneless for far too long. Be careful who you say that to. Well, I finally pulled out the T-Bone. What?

I was struck by that Murakami passage when it appeared in the New Yorker a while ago (2 years?). I definitely saw Flanagan at the Regattabar right around that time, and I definitely remember that he played "Star-Crossed Lovers." I can't be sure if it was the exact same gig that Murakami saw, though, as Flanagan usually played for three nights of two sets each when he hit town back then.

I pulled the trigger for Eskelin, Konitz, Maneri, Newton, and Ortega. Also went for regular priced items Clusone Trio's Rara Avis and Braxton's Nine Compositions (Hill) 2000 while I was at it. Been wanting both of those for a long time.

Knowing how you feel about strings, I'd say you definitely wouldn't dig it.

Sounded better to me than the real Clapton.

Of the ones you listed, I voted for Compulsion, which is one of my favorite Hill sessions and one I look forward to hearing again and again. Of course it's challenging, yet I find it fairly accessible. I think the extra percussion gives this date a very satisfying rhythmic feel. But overall, I agree with Guy. Go with Black Fire first. Another vote for Black Fire here. Also, you might want to check out Bobby Hutcherson's Dialogue, which is practically a Hill date, since he not only plays piano on it, but also composed four out of the six tunes.

Great minds think alike - I was playing that the other day. MG Good call! I'll have to pull that one out when I get home tonight. I've gone T-Boneless for far too long.

Since my post in the previous thread (now merged with this one), I have acquired pretty much every Riverside mentioned above. Man, what a great string of dates. The only one I'm still on the fence about is Smooth as the Wind.

I can never read the name Ratliff without thinking of the character from the fine Texan cartoonist Sam Hurt's comic strip Eyebeam.

Not even a teensy-weensy little bit?

The Monk Vogue recordings are very special to me. In college I listened to them over and over, and they provided a great window into the world of Monk's music . There's an incredible amount of invention within the structures of the tunes, not least in the flexible but swinging pulse, which pleases me far more than the rhythmic ellipses of his later solos, which I admire more than love. And one of my favorite discoveries of the past few years is Willie "The Lion" Smith's Music on My Mind, a 1960s solo session from the Jazz in Paris series.

I recently heard a talk given at the Berklee School of Music by Larry Applebaum, who in his capacity as Studio Engineer/Supervisor at the Library of Congress discovered the Carnegie Hall tapes of the concert featuring Monk/'trane, Rollins, etc. He brought along some of his finds, including one of the Rollins Carnegie recordings (IIRC, there were only two longish tracks by Rollins - one tune each from that day's two concerts), which sounded great. He mentioned that Rollins had tentative plans to release the performances at some point. Applebaum also brought along some video finds, including the only footage ever shot inside Birdland, for the Steve Allen show, featuring Basie's band, as well as an NET broadcast of Cecil Taylor's group, from a program hosted by Martin Williams. Wild! I took a lot of notes, and I'll write them up here when I get a chance. Next time I get to Washington, I plan to visit Applebaum at the Library. There's gold in them there halls!

I never cut mine up, but I managed to lose the obis. The sound quality on these was a revelation to me when they first came out, as I was used to the tinny 1970s LP versions.

What'djathink? I got this myself, and I have to say that it's a flawed, yet intelligent and powerful film. Especially for what is, in essence, a mere monster movie. Kind of difficult, unfortunately, to see the great actor Dana Andrews in latter days, clearly drunken in several scenes. Peggy Cummins, the most fatale of femmes in Gun Crazy is good in a good girl role, and villain Niall MacGinnis is magnificent, the ultimate scary clown. Director Tourneur is still in his prime, and the flick is surprisingly chilling and affecting. Glenn Erickson, AKA "DVDSavant," suggests that the controversial scenes explicitly show ing the demon were shot actually by Tourneur, barring the close-ups. I'm inclined to believe him. Erickson even defends the close-ups as well, which is where I part company with him. But imagine the movie without them, and I believe that the long-shots of the demon, perhaps cut by several frames in an ideal world, are quite effective in the context of the film. I agree; flawed but surprisinly good. Or not so surprising if you know Tourneur's earlier work. As for Dana Andrews, there was worse to come--I saw portions of some later films recently, and he looked even more under the weather, shall we say, than in Demon. Tourneur supposedly directed a couple of episodes of The Twilight Zone. I should seek those out. I recently got a copy of Chris Fujiwara's Jacques Tourneur: the Cinema of Nightfall which lists only one Twilight Zone in its filmography, "Night Call." Author Fujiwara, however, considers it Tourneur's last major work. A good, very thorough book, if perhaps too academic in tone. The introduction to the book, by the way, is by Martin Scorcese, who seems to relish the fact that someone finally wrote a book on Tourneur. I've seen it suggested, I can't recall where, that the relationship of the Keitel and DeNiro characters in Mean Streets was heavily influenced by the relationship of the Dana Andrews and Brian Donlevy characters in Tourneur's Canyon Passage. In his introduction, Scorcese calls Canyon Passage "a picture that's very special to me," and proceeds to rhapsodize about it for half a page, though he doesn't acknowledge any specific influence or borrowing.

New cactus needle. Copper speaker wire and I placed my speaker on a milk crate. Sounds dandy. How's that crystal radio running? Please reply via telegraph.

Plus, now you can add your own overdubs! I hear Kenny G's been working on his version...

I like 'em enough that I own two discs: The Very Best of the Move (Metro), covering the early stuff, and Message From the Country (Capitol/EMI) which includes the title album and a selection of singles and unreleased tracks from the same era. I definitely like the early, psychedelic stuff better, as I am not a big fan of the heavier '70s rock sound in general. But the later Move did heavy very well, with a welcome sense of humor.