Sundog

30, plus multiples of select titles.

A few others... Paul Desmond, Charlie Christian, Shelly Manne. If I have to pick one it's got the be Charlie.

I have this LP set also. Although the booklet is thick, there's relatively little text. Should fit in a CD booklet just fine.

Which part do you usually miss? The left turn? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Are we dizzy yet? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that? Or the left turn after that... You certainly wouldn't want to miss a minute next week. Watkins Glen, a road course. Both left and right turns!

Difford and Tilbrook Another enjoyable English songwriting duo.

Teddy Wilson Mosaic I'm flying totally blind here! Relying totally on board members opinions on this one. Never heard any of this music before.

Very Nice!

Night & Day= White Sand (Von Freeman)

Well said. I would just add that songwriters who express a wide range of emotions in their work always keep me interested.

Fair enough. Maybe the real question is how do you measure the "greatness" of a songwriter?

I happen to like it very much, but it ain't no Waterloo Sunset. Then again, no one is ever going to claim that Waterloo Sunset is "the" song that launched a 1000 garage bands. But there this little ditty called You Really Got Me.... You may of heard it? B-)

A hip choice, but I ain't buying it. When's the last time you were walking down the street and heard someone singing a Steely Dan song? Now, Stevie Wonder on the other hand.... B-) Bob Marley anyone?

Dylan & Davies tie for my vote. Others I really enjoy from the Pop/Rock tradition... Graham Parker Lowell George Paul Westerberg Todd Rundgren

more like: i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i Details, Details!

I thought that was the case. I couldn't find anything at the All Music site either. Too bad, I have a feeling it might have been an interesting pairing. Thanks Claude.

Did these guys ever play together?

Mingus: Complete Debut Recordings Artie Shaw: Self Portrait

Joe Henderson & Kenny Dorham

Thanks for the recommendations.

Playing Bop is a physically demanding endeavor on the guitar. There a very few players that can do it convincingly. Their solos usually pale in comparison when compared to horn players, especially great horn players like the ones you mentioned. The stylistic rules that make up bop were made by horn players. Guitar players have always had to deal with translating them to the guitar. Check out Jimmy Rainey on Parker 51 from Stan Getz's Complete Roost Recordings. As great as Jimmy is, he can't totally keep up with the breakneck tempo that Stan solos over. I love Jimmy so no flames please. Just using this as an example to illustrate my point.

Fairly ironic don't you think? Since Charlie Christian pretty much invented the prototypical warm overdriven guitar tone that rockers have come to know and love when he turned up to be heard over the Goodman Orchestra.

Don't get me wrong, I do enjoy piano in the rhythm section very much. I was just listening to the Miles At The Blackhawk material the other day and was totally blown away by Wyton Kelly's mastery. He swings so hard, and really drives the soloists to higher levels with his own highly refined unique brand of comping. It's a joy to hear. I really don't consider one instrument better than another. All other things equal (and they rarely are), I believe the guitar is more flexible because of the way it's tuned as opposed to a piano. That's all I was really trying to say. The two players that immediately come to mind when I think of exceptionally creative rhythm players are Jim Hall and Barry Galbraith. I would also give Pat Metheny some "props" in this category. There's a real palpable energy that comes out in Pat's rhythm playing (especially acoustic) that I've rarely experienced in other players. He's coming from a totally different point of view than Jim & Barry but I find him equally enjoyable. Regarding Marty Grosz is must admit that I have not really been exposed to his music. I know you have mentioned him before and he's on my long list of artists to check out. Can you recommend an album that characterizes his style?

No doubt about that. I'm of the opinion that the price was lowered because there are many alternatives that more or less perform equally well and cost much less. I'm also of the opinion that Apple's addition of new models in the marketplace always coincides with old products losing market share (coolness). Apple now only innovates when there is a business need to do so. They lost their cutting edge status many years ago as far as I'm concerned.

As a rhythm instrument I really prefer the sound of the guitar over a piano. In the right hands, the voicings that can be achieved are so much more open sounding and complex than a piano. Of course their aren't many players with the dexterity and creativity to pull this off consistently. Additionally, IMO few guitar players actually exploit this strength. Most are more interested in concentrating on soloing and when asked to comp behind a soloist they rely on more common approaches which a pianist can do perfectly well, thereby reinforcing the stereotype that pianists are better rhythm players.