Kalo

Happy Bebirthday, Bebop! Keep on bopping and REbopping!

Maybe CIMP's slogan should be "Sound so good that the average ear can't hear it." I have the Rudds and agree that they're hard to listen to because of their extremely wide dynamic range. But I can't bring myself to get rid of them because I am a Rudd fan and a Herbie fanatic. I haven't ruled out further CIMP purchases, either.

I will say that Street of Dreams sports the hippest Charles Trenet cover this side of Barney Wilen's Jazz sur Seine.

Just listened to Street of Dreams again, as promised. Nice record, but with that instrumental line-up and the tunes they play, it all sounds a bit too "loungey" for peak flavor, IMHO. Don't get me wrong. Those are GREAT players and that is ONE HIP LOUNGE; and if it was in my neighborhood I would be a regular. Still, I'll stick with Idle Moments, which is simply a great record, and an undersung one to boot.

Nope, you are not the only person. He was so good at it that I also thought that was his natural accent. Also didn't realize "Bones" was gone. Shit, I must be old myself. Hey, imagine having a baby at age 80. What age was his wife at the time?????? Once an engineer....... I guess he could still fix it! ← He was Canadian, right? Some of those Northeastern Canadians practically ARE Scottish. Mike Meyers can do a wicked Scots accent, too. RIP, JD.

Hmmm... thanks for the rec but it's a bit pricy at $95... Guy ← $10.50 a disc doesn't sound that steep to me.

Gee, I wish that I was old enough to call records "sides." Still, I am old enough to call them "records."

Cool! I like your snake's name. I had a few garters, too. It was so long ago that I can't remember if I named my snakes at all. I do recall going to the grocery store with my mom, as a trying-to-be-very-hip seven-year-old with a boa casually draped around his neck. This attracted far less attention than one might imagine, perhaps because it was in Berkeley, California, in 1968. My mom made me get rid of my boa when my brother was born. She kept having nightmares about the snake getting loose and "constricting" the baby. Funny thing was, the snake was only about a foot long and had trouble even with the anemic white mice it was fed bi-weekly.

Sorry.

Keep it clean. This is a family forum.

Isn't Wayne Shorter a Silver Surfer fan?

I have the complete Barks hardcover set. Barks was a true master. Among other things, he had FLOW. The way he moved from one panel to the next is almost unmatched in comics history. And his overall narrative construction has never been surpassed, either. I didn't catch up to this stuff until I was an adult. I can only imagine how deeply influential it was on the kids who followed him in his day. I also have the Little Lulu hardcover set. John Stanley was the equal of Barks in story construction, and perhaps even funnier. Clowes is definitely one of the greatest cartoonists working today, along with Chris Ware. They have few equals, especially in the way they seems to get better and better as they go along. I wouldn't be surprised if these two are remembered for a long time. That being said, I get a big kick out of almost anything that Alan Moore does, too. I read the Chabon book and enjoyed it. I dug the references to comic book history, and his notion of Houdini as a sort of ur-superhero is very insightful. Clever, too, his protagonists's costumed adventurer being named The Escapist. Almost too clever, to epitomize an "escapist" medium. Clever, too, that the cartoonist's sidekick turns out to be gay, as a sort of riff, I guess, on the 1950s comics demonizer Frederick Wertham's notion of a homosexual undertone to the relationships between such heroes as Batman and his sidekick Robin. Again, perhaps too clever. Still, I would recommend the book, even (or especially?) to those who don't give a hoot about comics or their history.

Sonny Rollins was a big Jack Kirby fan, so put him in the Marvel column.

That Immerseel traversal sounds like something worth checking out. Thanks for the recommendation. I didn't know that the Levin/Hogwoods were OOP. I have the one with Concertos No. 15 and No. 26, played on a fortepiano once owned by Mozart himself, and I quite like it. The improvisations are interesting and well done, giving a hint of what period performances might have been like. I heard Levin interviewed at length on a local radio show a number of years ago and he was quite erudite and witty, yet clear and communicative as well.

These packages are very cool looking, but I wince every time I have to snap one of those discs back in that holder thingie.

These "clever" headlines make me want to JIM Beam myself up.

Another for the All Stars box. It seems like the Decca years for just about every artist have been released pretty shoddily, if at all, in the States.

I think I know what you meant. I agree. ← I agree, too. Some of the rest of us want to hear what you all have to say. It tends to get lost up in there in that ultra-lengthy thread.

This record sounds intriguing. To my shame, I own no Evan Parker. Is Monocerous the one to start with?

I'm still in the Idle Moments camp. Though the Sonny Clark stuff comes close. I need to listen to Street of Dreams some more. This thread provides the perfect occasion.

I owned several reptiles as a child, including a boa constrictor. Snakes is fine by me.

It's really great that artists with the stature of Rod Stewart and Carly Simon are reviving these forgotten ditties of yesteryear.

Tell me about it. He plays as stiffly as he sits. That band always sounds so much better when Max is on tour with Springsteen and that other guy sits in, the one who plays barefoot. (I'm too lazy to look up his name right now.)

Saw Roberta Gamberini here in Cape Town 2 years ago she was just amazing, to me she is a real jazz singer, so few of them around, actually most of the so called jazz singers today are just sophisticated pop singers with a rythm section. ← Nice to see this thread back. This is where I first heard about Gambarini, back when I was just a lurker. She appeared in Boston early this year, and I pitched the gig to my editor (I write for a local rag on occasion). Well, all I can say is that I was quite impressed. I usually want to like jazz singers, but find that sooner or later (usually sooner) they blow it somehow, either through too much Broadway belting or cabaret coyness, excessive pseudo-soulful melisma, endless uninventive scatting, or sedulous aping of the greats. Gambarini side-stepped every one of those potential pitfalls. Impressive indeed. Here's my review. I may have gone a bit overboard with my praise in the heat of the moment, but I think she's the real thing. MUSIC REVIEW SHE POSSESSES DISTINCTIVELY GREAT JAZZ SOUND Boston Globe By Kevin Lowenthal, Globe Correspondent January 10, 2005 Thursday night, in her Boston debut at Scullers, Roberta Gambarini showed why she's being hailed by many insiders as perhaps today's finest young jazz singer. In a world of cool-to-a-fault Diana Kralls and mildly talented Jane Monheits, Gambarini is a true successor to Ella Fitzgerald, Sarah Vaughan, and Carmen McRae. Italian native Gambarini is an almost improbably complete singer. Her warm, velvety tone and scat-singing facility recall Fitzgerald; her near-flawless pitch and vast range are reminiscent of Vaughan; and her impeccable diction and the salty spin she puts on vowels conjure the young McRae. Among the greatest of her gifts is her taste, which keeps her virtuosity in service to the music. Her understated ease onstage also places musical values front and center. With her first American CD, ''Easy to Love," slated to appear soon, she is poised to emerge into wider recognition. Gambarini's generous first set included several jazz compositions as well as numbers from the American Songbook. She was backed by the tight, swinging trio of pianist Tamir Hendelman, bassist John Burr, and drummer Willie Jones III. The arrangements were varied and inventive, with Gambarini at various points singing alone, or in duet with each instrument as well as with the band. She sang the beautiful introductory verse of Hoagy Carmichael's ''Stardust" a cappella, displaying her lustrous voice without a net. On her dramatic rendition of Billy Strayhorn's ''Lush Life," each syllable of the final line tolled like a bell. Trumpeter Roy Hargrove materialized unexpectedly halfway through and played a rich-toned and tangy solo on the funky Johnny Griffin number ''The Jamfs Are Coming." He proffered biting fills in conversation with Gambarini on the blues tune ''C.C. Rider," then soloed sweetly on the classic ballad ''Lover Man." Gambarini demonstrated her vocalese mastery with ''On the Sunny Side of the Street," modeled after Dizzy Gillespie's 1957 version of the tune on his album ''Sonny Side Up." Articulating clearly, using scat syllables and an occasional recognizable word, she successively sang Sonny Stitt's intricate tenor sax flights, Gillespie's high-pitched pyrotechnics, and Sonny Rollins's asymmetrical and witty tenor sax lines. Benny Carter, the great alto saxophonist, arranger, and composer, became Gambarini's friend and mentor in the last years of his life. For her final number, she performed his classic ''When Lights Are Low," complete with its notoriously difficult, oft-avoided middle section. Even Miles Davis, in his famous traversal of the tune, mangled the middle as written. The first time through, Gambarini negotiated the bridge gracefully, while the second time around she crossed that tricky structure with even greater aplomb. It's safe to say that Carter would've been proud. Roberta Gambarini At: Scullers, Thursday night, first set

Sounds like a beaut! Is anyone reissuing the Solid State catalog?