tonym

Only the pink one. Oh, I'll get my coat....:doorslams:

S'funny, I had a feeling there was some larger force watching over me...I take it I'm on my own now

Well I think I must have been the only one browsing; the only other bid was days before and no others followed mine. Beginner's luck? So I need to hone some bidding skills eh? Does it get nasty on there?

I've never really checked much out on eee-by-gum-bay until the weekend when I was browsing car parts and jazz albums. Charlie Parker's The Complete Verve Master Takes was up so I waited until this afternoon, 10 minutes before sale closed, to make a bid. It's now mine for £12.50, including postage. Just don't tell me I need the alternates too.....

Just watched it. Good film. Brilliant acting by Tim Robbins, Penn and Marcia Gay Harden; Robbins' character wandered the small neighbourhood like he was a man in limbo. Script was a bit jarring at times but on the whole, good movie. Now then. The score. What was that all about? Even more disturbing when I saw the names involved in creating this piece of, well I should call it 'incidental' music, in that it just happened to be accompanying the movie I was watching. I am aware Eastwood is a real jazz buff and no slouch at the piano. This should stand him in good stead when a simple orchestration is called for. Maybe I'm wrong. Or maybe I'm expecting too much from pianists in general; I assume that they know how to voice etc. I don't, though, think I was expecting too much from the scoreing of this movie. With such a film I tend to think that any music works best understated so I didn't hope for a John Williams magnum opus at all. As early as the mortuary scene, I was 'unsettled' by the hopeful or resolute feel of the main theme. This repeated passage continued throughout the film, often contrasting wildly with the event taking place. Anyone else feel this way? Or am I being over-sensitive?

Thanks chuck. Sending a big X back at ya'

Agree with what was said about Coltrane. Very photogenic in the non-attractive way. Capturing him doesn't seem like an 'event'; he is there, a legend totally nonplussed by a photographer's excitement. But not in an arrogant way. Conversely if your see pictures of Getz, you get the studied, handsome face and focused playing shots but then you have the smiling, almost egotistical face when he's not playing. Anyone know what I mean? As for being taken back in time Jim, a particular favourite is the one of Johnny Hodges passing on another glass of wine. he looks like he's speaking to someone and without acknowledging the (white) waiter, he gestures that he doesn't want his glass refilling. He's dressed casually but stylishly; it must be early 60's and very evocative.

:sorryfornonintentionalthreadhijacksmiley: True. The only part of the film I felt geniune emotion was when Hanks opened his peanut tin. Regardless of whta was in there, I was moved that someone would go to lengths like this for a dear dad. I know there have been similar stories in real life but, yeah, contrived.

O/T. Reminds me, I watched The Terminal last night. Hmmmm.

I do like that one, reminds me of the Trane one by err.... at the Guggenhem. Who was it, the same guy as the Way Out West cover???

It is a great, great album. Can't speak for how it was classified at the time, as I wasn't around but as a BN novice when I bought it, I was impressed. Can't remember who said it but they likened Tyner's playiing with Coltrane as a big wave over which Trane soared. I see (hear) this album as Tyner and Jones creating a huge surge of water/ mass with Henderson like some sort of wild sea-bird dipping into it and coming flying out only to then duck back in. I haven't done any drugs today if you're wondering

Patricia has the definitive recipe as far as I'm concerned. Don't miss out on the cumin and a splash of Habenero makes it lively. I like these threads.

Well done! Brilliant choice. The Sermon is and was my first choice of cassette for the car if I was travelling any great distance. Driving to France I must have heard the title tune two dozen times. It has never put me off. What a line-up too. Every solo tingles and buzzes -- and I don't thrive on tingles and buzzes, bit more melancholic, me. The George Coleman solo on Just Friends has to be the second best solo on that tune ever. Enough going on even without touching what Jimmy Smith contributes to these dates.

Possibly for me (it's waaay too difficult obviously to narrow it down to one) the strongest contender has to be the one of Getz, Tommy Potter and Al Haig, playing at Birdland, by Hermann Leonard.

Mr Coffee meet Mr Keyboard....

I believe your taking me for granted and are trying to stiff me...as the milkman said to Aleister Crowley

Getz's 'Pure Getz' (from Tesco) & 'Blue Skies' and Scott Hamilton's 'East Of The Sun'(from Crazy Jazz). All on Concorde funnily enough. Don't think I'll be dissapointed.

5 plus Waiting For The Boogaloo Sisters All of them very, very good.

You may require some serious soul-searching if you do want more threads on testicles. Time for a re-appraisal and maybe a conversation with your better half.

I could spend hours here I bet you just did. Where were you all day? Just created the best rock festival ever.....in miniature!

I could spend hours here

Great stuff. Well done.

to sing rugby chants!

That was a great episode last night, better than the previous week's. Interesting to see the take on the sub-genres by the main protagonists at the time; almost like there was a class system or hierarchy in operation. How very British What tickled me was the very 'ordinari ness'of these guys (and gals); after years of gigging at the very top, some were just like kids looking in, some exhibited sour grapes and others just seemed happy to have been there at all. Just like talking to old cyclists who I meet up with every Saturday morning! The Wheeler Omnibus was quite a peculiar programme, given that he has to be the most un-talkative guy on the planet. Nice fella though it seems.