Kalo

Oh man, I love Lee, too. (I know there's another thread on here somewhere on this topic, but I'm too lazy to search for it.) I've got a passel of her stuff on vinyl, dating back to the inception of my Wiley obsession, in the mid 1980s. I just got my first Lee on CD (at Stereojack's -- keeping it in the family), a compilation of her three 10-inchers on Columbia Night in Manhattan/Sings Vincent Youmans/Sings Irving Berlin (Collector's Choice Music). The sound is OK, the music is better (Bobby Hackett is all over Manhattan, but the dual pianists are a drawback on the other two, though Lee shines). My favorites are still these, the first ones I got (on LP):

Ouch! I'm a Rouse fan. I think he's miles ahead of most players for the simple reason that he has such an identifiable sound: the man had a voice. He sure fits well with Monk, and the whole tenor of this thread (pun intended) is how truly difficult it is/was to hang with the man. I wonder what Lacy thought of Rouse. Anyone know? Rouse's Soul Mates(Uptown Records) is one of my top ten jazz discs of the past 20 years.

I've been wanting to check that one out for a long time. Unlike some, I actually dig hearing Monk's tunes played by others, as long as they really try to burrow into them, rather than just skim the surface.

So is the Retrieval the consensus choice?

By the way, this is a REALLY interesting thread.

Monk's rhythms are the most inimitable thing about him. When I first started listening to the man, in high school, it was the rhythms that really turned my head around. (Though, of course, everything about Monk as a composer/performer was/is powerfully integral: melody, rhythm, phrasing, etc.) Monk is the master of rhythmic suspense. He sub-divides the rhythm far beyond the ken of notation of any kind. I'm an untrained musician (singer, songwriter, and rhythm guitarist for several unsung "popadelic funk'n'roll" bands) and Monk was a key influence on my phrasing and inflection of silences, much to the chagrin several band-mates. I've essayed a few Monk compositions on my lonesome, and I can't say I've ever fallen down the shaft -- perhaps because my approach is structural and melodic, rather than chord-based.

Who wants to watch a curly mullet play lame soprano? I can picture his audience, though: like Clinton's cabinet (not to mention Bush II's), it "looks like America." AAAAUUUUUGGGGHHHHH! (As Charles Schulz used to say.)

THAT'S what I'm talkin' 'bout.

It's a shame about the American version of The Office. (Which I haven't seen.) I do like Steve Carell: The Daily Show, Anchorman. He plays the the David Brent analog in the American version, and has recieived kind notices. But I can't bring myself to brave the thing. Carell is the title character in the new 40 year old virgin flick. I might see that if I'm bored some weekend, especially for Seth Rogen's appearance (Ken on Freaks and Geeks). (Edited for clarity)

I just finished watching this a second time, and I don't think a TV series can get any better than this. On one level it's a great comedy, but turn your head just a fraction, and you have a great tragedy of daily life. One last point: Amazing! Redemption with the words "F*** off, Finchy" ← You're spot on about the redemption. I'm glad I took the plunge and bought this. I've watched it through at least three times, and it not only holds up beautifully, it grows. That's the definition of a classic in whatever genre or medium. Well worth the purchase price. One of the best shows ever, without a doubt.

The "Backdoor" Clinton compilation. When's Monica's compilation coming out?

I wish he was playing in my neck of the woods. I'd be more inclined to catch him without Murray, and I say that as a Murray fan. Still, I'd catch him either way.

Pops was always electric, even when young...

Excellent! ← One of my favorite SF authors, back when I used to read the stuff. He hasn't written much in quite a while, as far as I know.

Seriously, though, i've found that most long searches, when finally completed, end up being more disappointing than anything else. ← I'm old enough to have been there. I agree that actually finding somethning can be disappointing. I've found a few things I looked for for years and realized that I didn't really want them anymore but had just kept on looking out of some weird reflexive quirk. It's happened more often with books than with records.

Well who doesn't prefer the great Judy Collins to that also-ran Joni Mitchell? Actually, it's cool that Zoot Sims is represented; but how hackneyed a choice of tune is "Summertime"?

At least it contains the great jazz horn triumvirate of Miles, 'trane, and... Sanborn?

Anyone want to venture a guess as to what Chelsea and/or Hilary's mixes might include?

You KNOW that this Clinton's CD would have been a whole lot cooler without even half trying.

I'd second that assessment. A very nice record. And Richard Davis would have to be one of my favorite bassists as well. I've had this on vinyl since the early days of my Hill obsession. Beautiful cover, too, at least on the LP. I assume the CD is the same.

Small picture, but this is the one I have ... Things Are Swingin' - Jump for Joy And this is the one I have: THE MAN I LOVE coupled with IF YOU GO. ← Now I got 'em both! (Got the second one at Stereo Jack's a week or so back). Interesting that the better disc leads in each case. Listening to The Man I Love/If You Go right now. I agree with Sangrey that her "happiness is a Thing Called Joe," is fine. But you haven't heard that tune if you haven't heard Ethel Waters's original rendition on the soundtrack to Cabin in the Sky. Wow!

Next you'll be telling me that the Sir Douglas Quintet weren't British either.

Chambers was really something else. I'm a big fan. Wasn't Tony Williams even younger when he joined Miles?

Makes me want to holler... and throw up my hands.

This one's similar: faze/phase faze = embarrass, disconcert. phase = a stage of development, a temporary pattern, an aspect or part, etc. Yet I see this mistake all the time: "It didn't phase me at all..."