Kalo

I did too. Guy Good thing that neither title was entered in a "Biggest Cliche" contest.

I must admit that the ending to this series of novels was a let down for me -- it had too much of a sixties flavor (in a bad way) for me. Also, the plot twist of having the first image and last image of a character be running, was too contrived for me. Still, all-in-all, I enjoyed it much more the second time through than the first. Still thinking of reading it for a third time. A third time? So how bad could it be? I'm going to jump into this soon. As soon as I finish Proust. (Not even joking here, either, as I'm two-thirds through Marcel's opus and hope to finish it by year's end). I'm shocked, SHOCKED, that Brit engineers/programmers don't know who Powell is. Bet they know who Neil Gaiman and Alan Moore are. I work in the wine department at a wine and spirits store in Boston and I sometimes mention to new employees that I sold wine to Saul Bellow several times. Very few of them show even a glimmer of recognition at the sound of his name. I guess the Nobel Prize ain't what it's cracked up to be. Still, even more of a thrill to me was selling wine to film-maker Ross McElwee.

I've always been confounded by the state of the Yardbirds catalog. This thread will help me sort it out to my satisfaction. I must add, echoing the post that started this thread, Zombie Heaven is a revelation.

Agree, great title. As a huge Lucky Thompson fan, I'll have to track that essay down.

Maybe too obvious? But nobody mentioned 'em. Mildred Bailey - "Rockin' Chair" Hoagy Carmichael - "Hong Kong Blues" Also really like Paul Motian's "Skylark" from On Broadway, Vol. III, w/Lee Konitz!

Red, red wine...

I tought "Appell" was what you make "Cidrer" from.

J.S. Bach was well-respected on the instrument in his day, as both player and composer, dun.

I liked "Real Love" a lot better than "Free as a Bird!" I always thought that Jeff Lynn's hand in those recordings was a bit too heavy. They sounded too ELO-ish. Then again, it's hard to imagine what any producer could have done to flesh out those bones. Too bad Brian Eno didn't produce them. I don't think I'd mind if the tracks sounded too ENO-ish.

I read this article earlier today on Slate.com It made me very glad that I broke up with the woman who lent me his first book with an effusive recommendation. My favorite line: "Albom is Frank Capra without the requisite frowns."

To be positive, I suggest a "Classic Artists" format rather than a "Classic Hits" or "Oldies" format. That would really be something.

If you're ever in Dallas, liste to The Flashback Cafe on KDGE and know that it already is. I have to admit that it's been a bit disturbing to me that the "New Wave" hits of the early '80s, basically the biggest hits of my college years (though not even close to what I was listening to myself in those days), have become part of the rotation of "Classic Hits" radio. I have no doubt that there is some insidious demographic formula at work that adds the chart hits of a particular year to the rotation when they have reached, say, 20 years of age. Funny thing is, I would never voluntarily listen to these stations myself, but find myself being compelled to listen to them by the fiat of my younger, 20-something co-workers. I'm pretty sure that the "Oldies" format and the "Classic Hits" format are different. To me, "Oldies" is '50s to '60s stuff. "Classic Hits" is the late '60s through the '70s (and now into the early-to-mid '80s -- does anyone else find it disconcerting to hear the Police, Talking Heads, the Clash, and even U2 on these stations?). I'm also sure that both formats suck, being based on chart performance of the song in its day, rather than whether the particular tune has achieved any esthetic esteem in the years since. Thus, you hear the same three Marvin Gaye tracks over and over, rather than any of the excellent but lower-charting numbers he also recorded. I, for one, could live without ever hearing Gary Puckett and the Union Gap's "Lady Willpower" ever again, a big hit in its day and an esthetic abortion for evermore. The worst crime of these radio formats, as some have alluded to above, is their ignoring, or ghettoizing ("Motown Mondays") of black music. I often refer to the "Classic Hits" formula as "white cock-rock plus Hendrix ( and Phil Lynott of Thin Lizzy on rare occasions)." Though any single Aretha track dwarfs the musical achievements of most anyone else from the era (and by the way, where's Al Green, perhaps the finest singles artist of the '70s?), the only women you'll hear on these stations are Heart and the gals from Fleetwood Mac. And another thing, why do you hear more second-raters like Grand Funk Railroad, Bachman Turner Overdrive, Foreigner, Boston, etc. on these stations than you do even recognized ICONS of the music such as the Beatles and the Rolling Stones? Again, I fear, it's because of the chart rankings of the day, which bear little or no relevance to the later judgements of time. A plague on both their formats.

I've mostly heard and very much enjoyed Miller as a sideman. I first really noticed his playing on Steve Swallow's Real Book, from 1994. With Tom Harrell, Joe Lovano,and Jack DeJohnette in addition to Mulgrew and Swallow. A very fine session. I need to check out some of his leader dates.

Unfortunately, not a big surprise; Still, a disappointment.

And the winner is....

As a Hobart Dotson completist, I'm glad this has finally been issued legitimately.

Definitely news to the likes of me. I can kind of see it working, though. I've always enjoyed Conte's playing myself. And from a monetary perspective, as well as avoiding the road and attendent hazards, I can see staying in L.A., too.

None, so far. My excuse is that they haven't hit my doorstep yet. I'm hoping that they'll arrive Monday.

I just finished reading Dylan's Chronicles Vol. 1, which is well worth the time spent on it, and one thing he cops to from the very beginning of his songwriting career is appropriating chord structures, melodies, and lyrical fragments from all over the place. From the very beginning. Nothing new under the sun.

you talkin' about that interview she gave that appeared on the Ken Burns Jazz series? Yeah what was she smoking before she said that? Guess I missed that. What did she say? I Abbey Lincoln, by the way. I was lucky enough to get to interview her for over an hour a number of years ago. Unfortunately, it was over the phone. the basic gist of what she said is that the Beatles were promoted as part of a racist white conspiracy to eclipse the popularity of black jazz Ouch!

Just saw this for the first time. I like the way you think, Jim. Wow! The ultimate in "Musique Noir."

Order placed Sept. 10. Received shipping confirmation today, Sept. 28. Not bad. Only 3 discs of 33 ordered were cancelled. Not bad at all. I haven't even received them yet, and I'm already thinking about placing another order...

you talkin' about that interview she gave that appeared on the Ken Burns Jazz series? Yeah what was she smoking before she said that? Guess I missed that. What did she say? I Abbey Lincoln, by the way. I was lucky enough to get to interview her for over an hour a number of years ago. Unfortunately, it was over the phone.

The Knickerbockers' "Lies." Best faux-Beatles song ever. Check out Al Green's "I Want to Hold Your Hand." My favorite "obscure" Beatles songs as performed by the Beatles have all pretty much been mentioned in previous posts. But off the top of my head, my favorite favorites would include: "There's a Place." Amazing song, amazing performance. The whole second side of the original British A Hard Day's Night album, comprising the songs that were written for the film but did not appear in the film: "Any Time at All," "I'll Cry Instead," "Things We Said Today," "When I Get Home," "You Can't Do That," and "I'll Be Back." "Rain" "I'm Only Sleeping" DEFINITELY "She Said She Said" "And Your Bird Can Sing" "Don't Let Me Down"

The Complete Verve Gerry Mulligan Concert Band Sessions - Disc I I'm really enjoying this set.