DukeCity

For 99 cents you can get a tune from iTunes and take it for a test drive. Not exactly like the crack dealers who give you 'the first one free', but it's pretty darn cheap for some tasty Joe! Cheaper, even, than this tasty Joe:

Nicely stated, Sangrey. You state my position on this album much more eloquently than I did! Rooster: of course the Straight, No Chaser side is from the same date, and I forgot to mention it. I thought about posting both titles as Album(s) of the Week, but wasn't sure if that would violate AOTW policy. Of the two releases, my choice of "Four" is almost arbitrary. The deciding factor is the fact that I love Joe's solo on "On the Trail" so much.

Looking at the list of previous AOTWs, I noticed no Joe Henderson albums (at least none as a leader), so here we are. I wouldn't necessarily call this 'definitve' Joe, but it came to mind for a couple of reasons. I like the palpable feeling of the live nature of this date. I like the disparity between Joe's edgier playing and the more straight ahead vibe of the trio. It's also fun to hear these guys stretch out on tunes that have become very standard jazz repertoire. So standard are some of these tunes (Autumn Leaves, Green Dolphin St., Four) that they don't get called these days on gigs and jam sessions, being deemed 'too common' by some players. This was recorded in 1968 at the Left Bank in Baltimore. Joe, who at this point had already released many of the sides that are better known today, isn't playing original tunes. It's not about laying out striking new compositions, it's about this working trio with a guest sitting in, and finding common ground for doing some blowing. If you don't already have this side, I hope you enjoy it. If you have it, I hope you dust it off for another spin. I'm looking forward to the discussion.

I saw the repeat, too. Pretty funny. The cut they played was "Bye-Bye Blackbird" from:

Danielle Steele Natalie Cole Tracy Gold

Yeah, the Marc Johnson CD didn't have one either. I like them because they keep the jewel case from getting scratched or cracked. ← Yeah, but what do you use to keep the slipcover from getting scratched?

Please don't post here until the 13th. Don't want to step on the Lee Konitz discussion. The AOTW will be: Joe Henderson with the Wynton Kelly Trio (Paul Chambers and Jimmy Cobb) from 1968. Swingin' live date. I'll give some more comments in a few days.

Lawrence Taylor Mike Singletary Brian Urlacher

Bobby Shew Bobby Hackett Bobby Bradford

Cecil Payne Pepper Adams Leo Parker

Glad to hear LR is doing OK. Apparently he'll turn 70 on Dec. 1. I've always wanted to find a copy of a 1963 album on the Capitol label called "Tobacco Road" with screamin' big band charts by Onzy Matthews. A couple of years ago, Lou was booked to do two nights at a Casino here (Abq, NM) but the second night was cancelled when Lou got arrested on a domestic violence charge. Apparently there was an altercation with his girlfriend at the hotel. He then had to return to Abq. months later for a court date. Don't remember the outcome. Ah, showbiz...

Phil Spector Robert Blake O.J. Simpson

For "Masquerade is Over", you gotta love Nancy Wilson and Cannonball! ← No I don't. ← Ouch!

Tom Delay Dick Nixon HARRY TRUMAN!

For "Masquerade is Over", you gotta love Nancy Wilson and Cannonball!

"Excuse me while I disappear..." classic

Bea Arthur Buzz Aldren Sting

Donald O'Connor Mike Connors William Conrad

Lionel Hampton Slide Hampton Hampton Hawes

That's the 9th silliest question I've seen on this thread!

Star Jones Davey Jones Peter Maxwell Davies

Cliff Claven Wes Craven Wes Montgomery

Lawrence Brown Scoville Browne John Scofield ← John Wayne Elton John Elvin Jones* *post no. 2,000!

Beats me! Joseph Barbera William Hanna Daryl Hannah ← Darrell Strawberry Marion Berry Marian McPartland!

Don't know much about Ind's writing, or about Tristano, but I happened to be reading an interview with Chuck Nessa on AAJ regarding the early Mingus sides that Chuck co-produced. The topic of commercial appeal was broached: AAJ: What do you think is the single clearest insight this group of recordings has given you regarding the music of Mingus? It's described in one part of the booklet as "the genesis of his later masterpieces." CN: It's sort of all over the place...I'll put it this way: you have to understand the sort of sociology of L.A. at the time, what the independent recording scene was like and was saleable. So the early recordings are sort of modeled after other Central Avenue jump band good time music, because you could get a record date doing that sort of thing. But Mingus would always do something to push it a little further, to get himself out there a little more. Such as some unusual original compositions, or whatever: he'd slip in one out of the three, whatever, just trying to get his own music out there. Doesn't really make anyone's case in the discussion on this thread. Just thought it was interesting. Carry on...