Ken Dryden

My wife has joked about selling everything for a buck after I’m gone. She won’t need the money or the storage space but she might want to rethink that.

I was just attempting to listen to a vintage broadcast of Horace Silver at the 1994 Perugia Jazz Festival and the idiot who was the radio host consistently talked over Silver's remarks and the start of every song and also felt the need to interrupt Silver's solo in the first song with his babble. Was he told to do so or did he feel the need to share his unique knowledge of Silver's music? The same issue came up every year that we aired the Montreux Detroit Jazz Festival on Labor Day weekend. When the top of the hour was reached, the co-hosts started jabbering at length about nothing important, even though the artists were still performing, this seemed to happen every set, even during the night's headline act. This must have been an executive decision from above, as I can't believe that any jazz fan who worked in radio would feel the need to talk over a live broadcast. On the other hand, I never noticed that problem when we aired the Chicago Jazz Festival, people waited for sets to end to talk. I have the same feeling about emcees, the less said, the better, get off the stage, nobody came to hear you. In the late 1980s I witnessed a hapless emcee who was not with our station (we were Jazz 88 then) take so long to introduce Ahmad Jamal that the pianist finally took the stage and started playing and the clueless guy was still talking into the mike. I've emceed a few local shows and I try to keep my remarks brief, thanking sponsors, sharing house rules about not recording, turning off cellphones, etc. I try to take no more than 30 seconds to do so, less if at all possible. I'd love to hear some of your horror stories about bad radio hosts and emcees.

HutchFan: Wasn’t Luis playing with Miguel Zenon when we saw him at Ga Tech?

I am in the process of uploading the appearance that Burt Bacharach made on Marian McPartland's Piano Jazz . It was recorded in Los Angeles on November 4, 2004 and first aired by NPR on April 9, 2005. The files are complete, they can be found at this link, the program can be streamed or downloaded. https://archive.org/details/marian-mcpartlands-piano-jazz-with-burt-bacharach

I need to explore her music, but that it a bit pricey to start.

It is fun exploring archive.org and its live jazz offerings. Last night I streamed the Gerry Mulligan Quartet at the San Francisco Jazz Festival 10-27-1995. Although he had only a few months to live, he sounds as great as ever. https://archive.org/details/casfjazz_000129/casfjazz_000129_t01_access.m4a When I identify one more song, I will add the set list.

I will have to see if it is indexed, it may be one long track on a cdr.

I will take the Django Reinhardt.

A pretty fair price for limited edition sets that were $45 each new and pretty much all are out of print. Glad I bought them when they were first issued.

Marian McPartland loved the arrangement he wrote of her song “Ambiance” for the Thad Jones-Mel Lewis Orchestra.

We have had free trial offers of Sirius on the last two cars we bought and never activated them. Although retired after 26 years in public radio, where I still produce a weekly jazz show, I rarely listen to radio unless my wife is driving or Ian checking to see that the station staff loaded the correct program, which they have messed up at least once. There are far too many new releases and acquisitions for me to spend time listening to radio in the car.

Benny Green had some nice things to say about Walter Bishop, Jr. Bishop vouched for the teenager and called himself his “New York father.”

I never caught the Eagles bug and avoided their LPs. By the time of their emergence my focus was shifting to jazz and almost completely away from rock.

He appeared as a guest on Marian McPartland’s Piano Jazz. I may upload the show to archive.org if it is not still available to stream on NPR.

I don't recall any duplications, as I think OverTime was a follow up book that focused on photos not in Bass Line. There is also a third hardback book, Playing The Changes, that was published after Milt's death, that does duplicate some of the photographs from the first two volumes.

I am in the process of reading this book for a review. I've enjoyed it immensely! I got a review copy when it came out and Milt Hinton signed mine during a Jazz Party. $10.70 is a huge bargain, as I think it is long out of print and listed for around $30 to $40 when it was published.

Thanks for the tip. I haven't had any issues with CDRs getting scuffed up, but I usually print a booklet, so I can put each CDR inside the bifold booklet that I print.

Thanks for all of the suggestions.

I couldn’t find them on Amazon, maybe I was using the wrong description.

I have previously purchased clear plastic CD sleeves to store CDs that have a foldover flap to keep the CD in place. I can't seem to find any on line. Any suggestions of where to look are appreciated. I'm not a fan of the paper sleeves with the circular plastic window.

I have learned to use priority mail or FedEx with Dusty Groove. Chicago is one of the notorious phantom zones where packages disappear for weeks or months.

The bigamous lives of Charles Lindbergh and Charles Kyralt come to mind as well. Let’s not get started on politicians…

One of the first times that I interviewed Ken Peplowski in the early 1990s I asked him which vocalists he enjoyed playing with and Carol Sloane was the first one he named. R.I.P.