DukeCity

Mobley talks in the article about a couple of (at the time) unissued sessions he did for Blue Note: He says he "wrote a whole movie in Paris. It was about the French-Algerian war," The personnel he mentions is almost like the lineup for the "A Caddy for Daddy" session, (he mentions Cedar, but McCoy is on the "ACFD" session). Is "A Caddy For Daddy" the music he wrote for the movie, or is there some other stuff? Then he talks about a "brass ensemble" record with two tpts, two bones, horn, euphonium and tuba, and James Spaulding on alto. A quick scroll through jazzdisco.org shows a March '66 session for "A Slice of the Top" with an octet, but there's only one trumpet and no trombones. Is that the session Mobley is talking about, or are there others? Inquiring minds want to know...

Still intriguing and horrifying at the same time. Discussed previously here.

Seriously, how does that continue for two years!?! "Hey Bill, how come Jenny's not here for Thanksgiving?" "Uh, she's in the bathroom." "Hey Bill, is Jenny coming with you at Christmas?" "Uh, no. She's still in the bathroom." "Bill, you and Jenny have big plans for Valentine's Day?" "Not really. She's in the bathroom." ... ... ... ... "Hey Bill, remember last Thanksgiving when Jenny was in the bathroom? She'll be here this year, right?" "Uh....."

I'm a fan. I was at a charity event last year, and he was the featured entertainment. He did about 45 minutes and, like the monologues on his show, no matter how well scripted the stories/jokes may be, he has a delivery that makes it all seem very spontaneous/stream-of-consciousness. He was KILLING!

When I joined the band in '88 MF had been touring for a few years with a small, electric fusion band and this tour marked a "return" to playing with a big band behind him. It definitely enrgized him to have a bunch of fellow horn players on stage with him. And yeah, the vibe was almost always very cool. For better or worse (depending on your perspective) MF openly admitted that his thing was as much about "entertainment" as it was about "THE music". He appreciated good jazz playing, and I heard him DO some great jazz playing, but he often talked about his affinity for entertainers, whether it was the 1950's Hollywood variety or even Vaudeville. So the onstage schtick was a pretty conscious part of the whole package. Loose and fun. Maynard was clean of illicit substances by the time I knew him, but clearly there were lasting effects. And in addition to following his Indian guru, and doing his yoga/meditation thing, he did use more than a fair amount of wine/champagne throughout the day to...uh...enhance his bliss.

Nick Brignola recorded some on soprano. Ron Blake plays mainly tenor, but I see him playing mostly bari on Saturday Night Live.

I've never thought of Woody's playing as being "fettered".

Christopher Walken telling young Butch the story of his father's watch.

A few years ago Rocco (original bass player) and Dave Garibaldi (original drummer) rejoined the band. Made the sound of the band (at least live) pretty slammin'. Good trumpet players, some tenor guy still trying to fill Lenny's shoes, and Doc Kupka still farting away. Add a singer who can get the crowd going, and the whole package is pretty much there.

Nah, there are some mint condition, vintage Selmer tenors that sell in the $10K range, but sopranos like this might go $3-4K. No telling what kind of condition it's in. If it was his "road horn" it could have quite a few miles on it. No doubt, the KG provenence will be attractive to someone. They'll bite. KG sure does.

I picked up an H4 on eBay, and so far it's been pretty good. I've only used in to record some practice at my house, not out on any gigs. I was lured to the H4 over the H2 for the ability to use XLR cables to plug in higher quality mics (even though I don't actually have those better mics yet). Other than that, I think you'd be fine with either one.

Oh, they met a long time ago. IIRC, the G man was one of the original investors in Starbucks. Seems to have been a pretty smart investment.

Just getting to this part (here in the Mountain Time Zone). You forgot to mention "in the role of Sam Butera" Dave Koz.

Purty fancy! He also has a clip of himself playing Coltrane's

There's a George Shearing record called "Out of the Woods" featuring a bunch of compositions by a very young Gary Burton; kind of "chamber music meets jazz" stuff. Includes "The Great Fugue", "Drum Fugue" and "Improvisation on Fugue X".

Oops. Missed it yesterday. Thanks...

Classic! http://www.youtube.com/watch?v=QPgcQydWWeE

You might also try contacting Fred Hamilton at North Texas. He leads a guitar ensemble there, and I'm sure has quite a book of charts. Don't know about their availabilty.

Which album(s) of hers do you have? I don't have any, but from checking the extensive sound clips on her website, I'd have to say, of the three CDs represented, I like the tone/articulation best on the "A Strange Day". Her sound seems a little more open, less "held back" and more similar to what I hear on the live video clip of the tune "Dance of Mind". I'd say that clip ( here ) is my favorite of the lot. As for the sopranino, she sold me a lot more than I would have guessed. The idea of hearing lots of Trane-isms on sopranino didn't seem like a good one, but she pulled it off. I'd like to hear her on soprano.

Yep, the pacing of TH's solo is a thing of beauty. And one of the things that makes it work for me is how good the rhythm section feels (and the band as well). Sometimes, playing tenor solos with a big band, you stand up and blow just because the chart tells you to. You "fill the spot" in the chart, sit back down and everybody moves on. Other times (and not as often as one would like) the band feels so good that you want to get up and play. And when you're in that place, you're less likely to "fall back" on playing a bunch of licky stuff. Interesting conversation here between Tubby and Sal Nistico. Among other things they talk about the role of the big band tenor soloist, getting stuck in your own "bag", etc.

Rat Bastards! Sorry to hear about this, Joe.

Thanks for those links. Great playing from everybody. Tubby Hayes! Where the hell have I been? Pretty sure there is no TH in my collection, and I need to remedy that, pronto. A quick check at Amazon shows several titles. Any recommendations? Edit: to say that a search of our fine board turned up this thread and this other thread with some Tubby recommendations. So I have plenty of info to wade through. But of course, any further recs are welcome.

$.53(.3333) per.

Of the 150,000 records, "only" 20-30,000 of them are LP's. More than half are 45s, and another 30K are 78s. I know the market for 78s isn't all that great. Is the market for 45s any better? I'd like to see: "Here's a real treat – my "Odd-itorium" photo gallery, featuring strange, unusual, unique, "awful" and very cool records and record covers, sorted into more than 60 categories! Includes many great jazz LPs and wonderfully odd Christian LPs. So far there are about 2300 LPs posted on the site. As far as I know, this site features the largest and most diverse collection of this genre anywhere! This is an increasingly-popular genre. Just do some searching on the Internet and you'll see! Included in this sale are the records and the gallery itself. Please contact me through the link below for further details."

RIP. She was a favorite. I liked the smokey voice of her younger years. It started to get a little too smokey later, putting her creepily in that Bea Arthur, Maya Angelu, Carol Channing area. But still...