sgcim

I dunno. Where did they move her?

Thanks, mucho! Sounds like CT wanted a swinging chart in the style of Sammy Nestico. That's RW on the trumpet solo, and he sounds like an excellent player. Sadly, he lost most of his teeth in a car accident, and had to switch to piano. The liner notes are strange. They make no reference to the album itself; just a history of the Thornhill Band that discusses the influence of Gil Evans on it. In addition, Texas Blues must have been arr. by Lennie Sinisgalli (listed here as Sinisgal) who was also a great alto sax player and arr. I used to play with. They held a Memorial for him at St. Peter's in NYC (he died tragically young in his 40s while on the road, of a hemorrhage), and he was so beloved by NY musicians, that Torrie Zito gathered a big band, and they played LS' arrangements to a crowd that was the size of an NBA game! This is compared to more well known jazz musicians like Jimmy Raney's, whose Memorial was attended by a much smaller group of people.

I just found another Sam Most Sextet album that features two compositions by RW for the same personnel, and one of his tunes sounds like something George Russell or Jimmy Giuffre would have written in the 50s. It's from a re-issue "Doubles in Jazz featuring two ten inch records, one by Don Elliot, and the other by Sam Most. Here's the cut I'm talking about: https://archive.org/details/lp_doubles-in-jazz_don-elliott-quartet-sam-most-sextet/disc1/02.06.+Open+House.mp3 He also wrote a composition for the Claude Thornhill Orchestra called "Claudehopper" while he played trumpet with them, which I'm still looking for. This guy was another Gil Evans

Next thing you know, someone will announce that some guy with orange hair just got re-elected...

RIP. I always loved Friday On My Mind, and still listen to it whenever it comes up on you tube. Can we listen Ms. TTK's radio show online?

If we make it, we can all sit back and laugh, but I fear tomorrow I'll be cry-ing, Yes I know to-mor-row I'll be cry-ing.

"I Talk to the Wind" was my motto at the one party I went to in HS. 21st Century Schizoid man constantly ran through mt mind whenever i spoke to the neurosurgeon who removed my tumor this summer with a DaVinci Robot. I was lucky it was benign. "Epitaph" should be the theme song for the next four years...RIP, Mr Sinfield

Winnipeg - 30

Oh God, one of the greatest. RIP

I already maxed my 13 CCs paying his premiums. I had to change to barter. He's got my wife, four of my ex-wives, nine of my children, and my car. He only has 47% of my dog, but he'll be shipped down there at the end of the month. Too bad, he's the only one I'd miss.

Bagley even wrote arrangements/orchestrations for Judee Sill's self-named great first album! Sill's husband, the jazz pianist Bob Harris wrote the rest of the charts, but he was such a notorious junkie, David Geffen and his partner Elliot Roberts wouldn't let Harris anywhere near the studio, so Bagley had to conduct the orchestra for the first album released by Asylum Records.

Ouch!

RIP, after along illness.

Dick Morrissey's son just told me that Sellers and his crowd used to spend every waking moment they had at Ronnie Scott's. If Dick was playing there, a drunken Sellers would be hitting on Dick's wife. At least he went out 'swinging'; his final request was that Glen Miller's "In the Mood" was to be played at his funeral.

Yeah, that's one of the conclusions the author comes to. I was surprised that Wally Stott/Angela Morley was the musical director for the Goon Show, WS was very close to PS and was interviewed extensively for the book. From Scott Walker to John Williams and Hollywood, WS/AM was everywhere back then.

I love most of Peter Sellers work, and I decided to read a bio on him called "Mister Strangelove" by Ed Sikov, and I found out he was a working jazz drummer during the war years: But the title of the book should tell you about the man himself. He was crazy,crazy, crazy CRAZY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! The author said that the reason why he took to the drums was because Sellers had no identity himself. He was just an obsessive impersonator, and PS the person didn't exist, so the drums were such an abstract thing, that he loved to bang the crap out of them. He stopped being a professional jazz drummer, because some guy wanted the band to play some tune, and he didn't know it. The guy called him a shiface because he didn't know the tune, and he decided that any profession that involved being treated like that was not for him. He was a Mommy's boy, who was so attached to his Jewish mother that even when she died, he still would talk to her at night. He was married four times, and expected his wives to take care of him like his mother did, and when they didn't, he would throw objects at them,and they or he would have to leave the house for days or weeks, or even months! He would have crazy reactions to things, and wind up telling women that he wanted to marry them the first time he met them. he would have a director fired if they told him to follow the script, because he had to improvise most of his lines in all his movies. Dr. Strangelove-improvisation, Lolita-improvisation, Pink Panther movies-improvisation- the man was a comedic genius! He would at first turn down any movie that was offered to him until he could spend time with his tape recorder, taping different accents and listening to them over and over again until he decided he would take the roles, because he could do the accent he wanted to use for the film. He would fire anyone on the set who would wear the color purple, because he was afraid and/or hated the color purple! He was definitely bi-polar, and would threaten to commit suicide countless times if he got the feeling that his wives didn't love him like his mother did. He cared about things more than people- especially cars, new expensive cars. In just six years, he went through 50 different cars, because he would see a new one and immediately yell out "I've gotta have it!" We're talking Bentley's, Rolls Royces, Ferraries, Jaguars. He would give cars away as presents if he liked you, or he would insist on being given a new Rolls Royce or he wouldn't take a role. He got interested in photography, and would make home movies where he would tell his wives and kids to smile and laugh as if they were having a good time, when they were really miserable. Phony home movies He was going to marry Liza Minnelli, but she knocked off his toupee at a restaurant, and after months of dating her and proposing to her, he walked out of the restaurant and never saw her again for the rest of his life. He walked out on "Casino Royale" because Sellers had four heart attacks in one day and was clinically dead until they installed a primitive pace marker in him. Rather than go to a hospital and get an angiogram, he would rather wear his pacemaker all the time, and wound up dying at 55 in early 1980 of another heart attack. He trusted psychics and numerologists more than he trusted his doctors. I could go on, but you get the idea. The reason none of this was public knowledge was because of one piece of advice he was given by Alec Guinness when PS was a young man. "Son", he told him, "whatever you do, NEVER talk to a journalist". He followed that advice most of his life, but at the end, he was so far gone, he couldn't shut up, and got himself into a lot of trouble....

RIP. A keyboard player I used to work with was his Musical Director on the Norwegian cruise line. He said it was the best gig he ever did. JJ treated the musicians like they were human beings, something unheard of for the last 40 years or so. Was a great guy and singer.

Only when it's an 'iconic' one with a #9

Oh yeah, I always confuse those two notes. I take it back, those changes are fine. I just don't like the Bm7-5 E7 chords, but they fit fine over the melody. When I do arrangements of Raksin's stuff for big band, he's the one composer I don't bother to change the harmony for when I'm doing the melody. The trick is to change it around for the blowing sections, rhythmically, harmonically, tempo, even time signature have to be changed. Stay safe!

Where are you in Fla.? Make sure the bachelor dungeon is secure! Something like that can't be replaced!

There are a few things I have trouble with in those eight bars. 1) the first note on the second beat is an Eb, and you have a Dm7 as your first chord- not gonna work. You've gotta stay with Raksin's Fm7 at least for those two beats. I like the Cm7, because the first note is an F, so it makes it a Cm11, which sounds fine. I knew you were gonna change the Dm7-5 G7 to a Bm7-5 E7alt so you could get to your 'precious' Am7(11), but I prefer the Dm7-5 G7b9 to C 6/9, because we've already heard an Am7-5 in the first eight at that part, and going to C is something completely different. It's similar to the last part of "You Stepped Out of a Dream"; something completely different in the last few bars, which is something Raksin wanted. Of course the Am7 sounds fine, and following it with a D7 is cool. I'm glad you included the Ebm7 Ab7 at the end, because to me, that is the real surprise of the end, because just playing an Ab7 is too Irving Berlin for such a masterpiece, and we've never heard an Ebm7 before in the tune. I think that chromatic ii V idea should be continued by going to a Dm7 G7 rather than just a G7 like you did. One time I was playing "Laura" on the piano at a GF's house, and her father flipped out. He said, "That's the song I named my daughter (my GF) after!" It's too bad she turned out to be a demon from hell! Her dad loved me after that, and wedding bells were gonna follow if things had worked out.

It definitely belongs in there, but it's preceded by the Dm7-5 G7b9 line on the words "her ve-ry first" (F G Ab B), so I play the C6/9 on the word kiss to you for one measure and then I go to the Am7 for the next measure. If you got to the Am7 right away, then what do you do on the next measure? I definitely hear another change in that measure, and going to the Am7 right away forces you to hang out for two measures on the Am7, which slows down the harmonic rhythm of the climax of the song. Working steadily in NY with two keyboard players who were harmonic geniuses (IMHO) and didn't have a bass player to force them to play roots that they didn't necessarily agree with, because they played their own LH bass, enabled me to learn some of their ideas, which literally made the world shake when I first heard them. Wayne Shorter had one of those moments when he heard something Raksin did in the introduction to Laura from the film score. I don't think he said exactly what it was.

Early Schoenberg was before he developed the strict 12-tone system. I like Transfigured Night. Then he turned into a mathematician, like Webern. One of my composition teachers said Webern's music sounded like little farts.

Yes, I was talking about the European 12-tone music in the strict Schoenberg method of composition. It's good to know that even someone like you, from Austria,where it came from, hates it also! You can go as far 'out' as you want to with tonal music, as Eric Dolphy proved.

I wrote a string quartet before I studied composition, and i went through this Amazing period where I heard the entire first movement in my head, and it came to me faster than I could write it down. I couldn't stop it if I tried. It was more like a psychic experience than the way I compose now. I was able to write it all out, and used it as an audition piece to get private, tutorial undergraduate composition lessons with the top graduate teacher, who never accepted undergraduates. But by the time I started lessons with him, that 'magic' experience went away, and I couldn't write music like that anymore. He forced me to write twelve-tone music, and I hated that stuff, so the next semester I switched to the regular undergraduate tutorial teacher, and he told me he loved my string quartet, and said it reminded him of Shostakovitch quartets. I told him I never heard any Shostakovitch quartets. I then listened to Shostakovitch's quartets, and they didn't sound anything like my quartet. He forced me to write 12-tone music, too, and I gave up and just wrote some crappy 12-tone thing for solo tenor saxophone., and never took another composition lesson again. Years later, there was a flood in the basement apt. I lived in, and my string quartet was destroyed. I wrote a symphony, and that was the end of my classical composing. Now I only write jazz ensemble music on MuseScore, and I write what I hear in my head the normal way- one phrase at a time, slowly.