Kalo

I've been enjoying ivey-divey moderately, but I'm not finding that it lives up to the hype it's received. I just looked this thread over because I'm going to review his upcoming Boston gig. The following caught my attention: Yeah, I agree that the Mensa mention was off-putting. The other two groups he lists are the Screen Actors Guild and the Black Rock Coalition. The liner notes of Allen's At the Moment of Impact... list the following recording dates: December 9, 1989, and January 24, 1990, but doesn't specify which tracks were recorded when. So Allen's memory is quite accurate as far as it goes.

I guarantee that if they'd released the whole schmear first, someone would have complained that it was overkill and asked why they didn't release just the music. There's no pleasing some folks I like to think that they did it right, twice.

It's "schmaltzy," OK? Schmaltzy! And Berklee, no? BERKLEE! (I'm such a schmuck).

It's kitsch, OK? Kitsch! KITSCH!

That sphinx cover is mighty "cheese-o-fied." On the other hand, it leaves me with a POWERFUL hankering to hear Jackie Mac jam out with Earth, Wind, & Fire!

Um, it's really about a college graduate tossing out Pearl Harbor as a response. It's not at all unfair to have a laugh about that on a bulletin board. ← Uhmm, yeah. Getting something a decade or two off is acceptable, I guess. But this college graduate missed by about 900 years! Fair game, I say...

I don't care! I'm holding out for $90.00 even!

Congratulations! I'd love to hear you in Boston. Maybe we Massachussetts Organissimites can form a benign conspiracy to make it happen.

I'd agree with that. Blowing sessions are neutral in and of themselves, yet tend to have a bad rep among critics. Yet when they work they can be really great. When they don't, well... they blow.

And thanks for the reminder! It's time to drag those out again.. some EXCELLENT music, not to mention some first class gangsta rappin' from Mr. Jelly...

I agree with Chuck. I got the previous release as a gift and I'm very happy with it, though I'll seriously consider getting this complete issue... But I would keep the earlier release as a convenience.

Ouch!

Could you tell us what it was? Oh, and thanks in advance!

The last two episodes are what really make that series. There are several good episodes on the way to the last two, as well as a few sleepers. ← Hmmm... I've been thinking of springing for the mega-set on this one (Deep Discount DVD offers it for well under a century note). But it's been a long time since I saw any of these (and I never saw all of them, including the last two). So perhaps I should rent first.

Are you going to do a shot every time someone says "Hi Bob"? ← After watching the first season through, I must say that this show holds up well, even without the shots... And, as I recall, the show only got better after the first season.

So they re-bopped before they be-bopped in the first place. Them cats was CRAZY!

Those are fun. I'll have to pull 'em out again. I like the fourth one best, as it has the most diverse programming; plus it opens and closes with the theme from one of my favorite French gangster films, Touchez Pas au Grisbi. Another amazing jazz soundtrack is George Gruntz's for the 1960 Swiss film Mental Cruelty, a stunning piece of moody Euro hard bop, which features Kenny Clarke and Barney Wilen. I think it gives Miles's L'Ascenseur music a run for the money. Actually, it works better as an album. It was re-released, after barely being released at all in the first place, on Atavistic's Unheard Music Series. http://www.atavistic.com/artist.cfm?action...=148&itemid=240 I know that this has already been discussed on the board ( this is where I heard about it in the first place!), but it seems appropriate to bring it up again in this thread.

I'd like to see this picture again soon. I just read a bio of the director, Howard Hawks. Apparently, Krupa came up with that routine on the set and Hawks decided to include it in the movie. Hawks was famous for encouraging actors to improvise and for tailoring roles to the actors as the film was being shot. Kinda "jazzy." ← Oh, the Todd McCarthy bio? Yes, been poking around in that a bit: very interesting to learn a bit about his methodology. -- Incidentally, which was shot first, The Lady Eve or Ball of Fire? There are a couple of bits in Ball of Fire which seem to glance off the Sturges film (in particular a memorable bit of dialogue involving apples). ← Yup, the Todd McCarthy. Not a bad book at all, though I still prefer Gerald Mast's Howard Hawks: Storyteller by a wide margin, though that's more of a critical reading of the films themselves than a bio. According to my references, Ball of Fire was shot in August-October of 1941, well after the February 1941 release of The Lady Eve. And, of course, Stanwyck was in both of them, so perhaps she contributed the riff you're talking about, though Hawks may have been equally responsible.

Hey, I dig all of the above, as you know, BruceH. And how about Ornette, if you're talking alto? And, no, I won't choose between Hodges and Parker either. Love 'em both.

You're doing great, Jazz Kat. When I was your age, I knew exactly squat about ANY of the above. Of course, in the dark ages of the 1970s, much of Ellington's output was out of print in the U.S., including the Blanton/Webster glory days! The kids I knew who listened to jazz at all back then were mostly into contemporary Maynard Ferguson, Keith Jarrett, or vsarious types of fusion, none of which did anything for me. A good friend, who's now a pro pianist in NYC, introduced me to Monk, while Miles Davis, Brubeck, and Mingus did have some currency among those of us who were getting interested in the music, mostly through their widely distributed Columbia recordings. Still, even though Ellington is readily available in mass quantities today, you're still to be very much commended for digging him, Hodges, Mulligan, etc.

Hey Guys, My pleasure. I look forward to checking out the new disc soon.

I'd like to see this picture again soon. I just read a bio of the director, Howard Hawks. Apparently, Krupa came up with that routine on the set and Hawks decided to include it in the movie. Hawks was famous for encouraging actors to improvise and for tailoring roles to the actors as the film was being shot. Kinda "jazzy."

Coloring's OK. I'd probably like it better in B&W. But that's a knock-out photo. Who was the photographer?

Looks fake to me. Her breasts don't look real either.

Nice comparison of Sandke to the likes of Jaki Byard, Allen. I definitely hear that. I bought Outside In, and I am really enjoying it. "Ornette Chop Suey," for one, lives up to its title -- which is really saying something. I also enjoy how the disc is bookended by the two versions of the Jelly Roll Morton composition "Ganjam." Thanks for this thread, Mike. I can see more Sandke in my future.