DukeCity

I believe there's a switch that allows you to play songs in the order they appear on your iTunes playlist.

So whose show should he have gone on, Arsenio? Magic Johnson? Wayne Brady? I guess maybe Oprah, or Tyra.

Why did they let him perform the next night? Where was their indignation then??? I think he told the Laugh Factory people that he wanted to go on the next night to apologize, but then went on and did not do so.

The discussion in this thread has reminded me of a talk that I heard Kenny Werner give several years ago. He was talking about how lots of jazz musicians can build up anxiety from the need to "get their shit together". Man, I gotta work on those Bill Evans chord substitutions, and I gotta get those Bud Powell lines together, and I gotta get that stride thing happening, 'cause hey, if you can't play some authentic stride..., and I gotta get my Herbie shit together, etc. etc. Obviously, checking out the guys who have come before, and working on that stuff as a foundation for your playing is vital to becoming and informed player. But to do that work under a veil of guilt or anxiety seems to violate the spirit of the thing. Ideally, it would be done out of a sense of curiosity and exploration, and maybe a sense of one who simply wants to be thorough. I think the same (or similar) thing applies to listening to the music. There are times when I feel like I "should" be checking out things. But if I approach it with an "Eat your vegetables! They're good for you!" kind of attitude, it gets harder to make a connection to the music. Instead, I just try to keep my mind and ears open, and try to balance listening to the stuff I know/like with finding new/other things to check out.

Probably not much fun. I'll think good thoughts for both of you on Friday (and every day while we're at it). Absolutely! No big plans for the day, but I have a jazz gig that night with a nice rhythm section. Kind of hit and miss for what kind of crowd we'll get. Folks maybe staying home and sleeping off their turkey comas, or they may be so sick of their families that they'll be chomping at the bit to get out of the house.

I don't know the origin, but I always think of the opening sequence to The Odd Couple TV show, where Tony Randall's wife "kicks him to the curb".

I'm not even sure which version I have of it. I put all my Christmas music into one big playlist in iTunes, and use that. One of my favorite moments on that record is O Tannenbaum. VG plays a rubato statement of the theme in 3/4 time and then bass and brushes enter swingin' in 4. That, and the very tasty VG solo that follows.

Available at iTunes. I just downloaded it today. Looking forward to checking it out over the next couple of days.

Good for you! Have a great time!

Apparently Richards will be on Letterman tonight (via sattelite) to make some sort of apology. Seinfeld is a guest on the show, as well. Good luck with all that!

You may already have this info, but: In the 1970's Kenton started releasing albums on his own label, Creative World Records. Those have been reissued recently on CD and I found many of them here. Many of these albums are "Live at Whatever University", so you hear the band in action.

Kenny "The Snake" Stabler William "The Refridgerator" Perry Ed "Too Tall" Jones

I wonder if any of those Trane/Wayne tapes (listed as rejected) exist somewhere. Also, has anyone ever heard the 1962 Olympia, Paris tape? I'm assuming that the 1960 Showboat, Philly tapes are circulating somewhere...

Apparently $266.99 is the "realistic" price for that copy.

... and both the McClean "Alto Madness" album and the "Bird Feathers" sampler are available on emusic.com

I was just talking to a student about "Giant Steps" chord changes, and the question occurred to me (again):Other than the alternate takes from studio sessions, are there any recordings of Coltrane's group doing that tune on gigs. The same question would apply to "Countdown" and "26-2." There's the common belief that Coltrane wrote those tunes more as practice etudes, but after going to all the trouble to learn/work on/record them, did any of them ever make it into the rotation of live gig tunes? In the stack of books about Coltrane, is there any discussion about this?

Hmmmmmmmmmmmmmmmmmmmmmmmmmm.................... Yeah, kinda, sorta, for a little while, maybe.... But I'll take Clarence Sharpe for the block. So, maybe there's a continuum and Jackie Mac, Jenkins, Sharpe, and Mac Pherson are on one end; Phil and Quill somewhere in there; Ritchie Cole and Greg Abate at the other end? (Sadly, the first album with the title "Alto Madness" that I ever got was a Ritchie Cole record, when I was in high school. I liked that he could play fast 'n stuff, but I could tell something wasn't right... )

My copy of Alto Madness doesn't have Bird Feathers, but after some poking around I found that cut on a sampler called "Bird Feathers" that also has some material from Phil Woods and Gene Quill. So, listening to McClean/Jenkins and Phil/Quill back to back, it's interesting to hear Bird being filtered through different guys. Jim, (or anyone) would you include Phil/Quill in the list of guys who "got" Bird? They certainly have the vocabulary, but it's presented in a much more slick way than McClean/Jenkins. I dig 'em all, but there are definitely different things being offered by these guys.

Reminds me of the story about the guys hanging out in the prison yard. They'd all been there so long that they didn't even have to tell the jokes anymore, they just numbered them. Spike says, "38." and everyone starts to chuckle. Ace says, "63" and gets a good laugh from the guys. Bruno says, "97" and the place goes nuts. Then Dave says, "14" .... nothing. Spike leans over to Ace, "Some guys just don't know how to tell a joke."

In days of yore, Drew Phelps/Barney Fife. Drew + Dave = "Stereo Phelps" (the name of an early '80s band they had in Denton)

Just a couple of years ago, a new Taiwanese manufacturer started producing a line of saxophones called "P. Mauriat." Apparently, they simply liscenced the name to give the saxophones the illusion of being French (like the industry-standard Selmer).

This one will help you squeeze out those last few reps...

Hey, maybe it's Jan Garbarek on the Steve Allen show with Monk!

This is available on emusic, along with a bunch of other stuff from the RLR "label" (Trane at the Showboat, som live Bird, etc.). I just downloaded it and checked out the Steve Allen show stuff. I don't know Teo Macero's playing very well, but I have to say this doesn't really sound like Mobley to me. The lines don't sound like him, and on "Well You Needn't" the tenor player plays a couple of lines up in the altissimo register that I've never heard Mobley do. Indeed, the fidelity is horrible. It does sound about like a tape recorder mic in front of a TV speaker. At a couple of spots some voices can be heard, as though people in the living room are talking in the background. Here are some fragments of the recordings that include the short tenor solos: Well You Needn't Off Minor Whadaya think? Mobley, or no?

Put one of these on the tonearm. Should clear things right up!