John Tapscott

Always wondered if this photo was taken inside Carnegie Hall (never been there myself). If not I'll delete the post.

I have the LP. It's a great date IMO. And now with a live set added, I'm all in on this one.

How far to the left does it go, Ken? When my wife tells me I have too many recordings, I'm going to show this photo. "See dear, I'm not nearly as bad as others...!"

Glad I'm not the only one with this problem. My CD's are filed by musician A-Z, but in about 6 or 7 sections of A-Z. So if I want to listen to a particular CD, and don't immediately remember which section, I can be on a bit of a hunt. Fortunately, all my recordings are together in one corner of the house (basement). My wife is extremely happy with this arrangement. And at least all my LP's are together in the same place, A-Z. Anyway, to answer to question - Dave Holland. Put on the BB CD "What Goes Around" this A.M. for the first time in years. What a fabulous recording. I don't have too many other Holland recordings, but I'm going to dig into them all.

Actually, one heard and seen - from the Jazz Icons 4 Bonus DVD Blue Lou - Coleman Hawkins, Benny Carter,Teddy Wilson, Bob Cranshaw, Louis Bellson - London, England, Dec. 1, 1966. Very good late-period Hawkins.

Wrong on several accounts - sorry. What you say might be true (and probably is) for all those who are only prepared to consider it jazz if it was produced (stylistically speaking) post-Electric Miles or maybe post-Miles Davis Quintet or (at the very, very widest) post-Bird. SWING is quite accessible and a lot (waaaay past Glenn Miller) is comparatively "simple", danceable and just plain fun (or would you deny that Swing is jazz?). Not to mention "classic jazz" (popularly summarized as "Dixieland"). And Swing therefore can serve as an entrance door to subsequent styles of jazz as it allows people to find their way GRADUALLY in those areas of jazz as and when they are prepared to listen and explore that music by way of musical CONTINUTY (which does exist). I've witnessed several cases myself where this has worked. This still concerns only a minority but MANY more than the current audience of what many (self-proclaimed) "progressive" fans of jazz consider outright jazz. Apart from music of the swing era or current bands playing in that idiom ("recreations" or not), many of the less punk-ish "Neo-Swing" bands of the 90s onwards would have served that bill of being an introductory card to jazz very well and yet most "progressive" jazz fans saw fit to diss those bands as unfit for any consideration because in their exes they were not even remotely linked to jazz. Probably because to those "progressive" jazz fans anything from the swing era (stylistically speaking) is just old hat and not "jazz" enough. Your loss, this snobbish attitude ... So if attitudes like this mean that jazz (as understood by those who consider themselves "real" jazz fans) remains limited to far-out, weird, screwy "noise" (which is how many non-jazz listeners would perceive those styles of jazz at their first enounter) then you are slamming the door in the face of those who'd be willing to try and increase the jazz audience. Your loss again ... Sorry - I agree with Wesbed. I think he's right on.

The New York Times review from the above link indicates Sam played tenor, soprano, flute and piano. My guess, based on the one live Rivers show I attended, plus the Rivers records I've owned/heard is that he spends approx. 1/4 of the concert on each, perhaps a bit more than that on tenor.

Great album!

See posts #26 and #27 above.

Happy Birthday. Have a great day!!

Exceptionally dedicated to his line of work, I would say.

Great minds think alike - Morgenstern, Lowe and me! Heavy company! BTW, looked at Carole Easton's Straight Ahead: The Story of Stan Kenton this AM. Not as comprehensive as Sparke's book, and has some errors here and there regarding dates and time-lines, but it's perhaps even more insightful than Sparke's book into Kenton the man, and it's better written too,IMO. It's a page turner and often quite humorous, perhaps unintentionally. Some "true believers" as Jim calls them, have told me that Easton really nailed it. Couldn't find the story about Anita getting on the band bus, but there is enough there to indicate that Anita was well, Anita,during her time with the band. The story is included of the time when Anita was in a dress shop trying on new outfits for a tour. From behind a stall curtain, she called out "Stanley, come and see how this one looks." So Kenton pulled back the curtain, and there was Anita, stark naked. Art Pepper claims that during his time on the band the champion drinkers were Art himself and wait for it...June Christy.

No question all that's true. It's said that Roland used to lie on his back on the floor at recording sessions with his eyes closed, when he should have been conducting or playing as the time ticked away. He wrote himself into the band on 5th trumpet then later on 5th trombone - that how the Kenton band expanded to 10 brass. But dang, his Adventures in Blues is a masterpiece IMO, soloing on both mellophonium and soprano sax, as well as writing and arranging every chart. He didn't write Four Brothers but he had something to do with it -I think Giuffre first wrote the Four Brothers sound for Roland's band, which Woody then took over.

Yes, I've read it. Nothing much to add to what's been said. You both provide a good summary. I think Sparke tries to be objective and is for the most part, but there's no question that he is a big admirer of Kenton and his music. In terms of personal taste I am a bigger fan of Gene Roland's writing for the band than Sparke seems to be and less a fan of the Innovations Orchestra which Sparke seems to consider the peak of the Kenton canon.

Well, that didn't take long, thanks to the experts on the Phil Woods Forum. "An Affair to Remember" (Adamson/Warren)- the title tune from this CD:

I listened to it. The tune seems vaguely familiar, but honestly I haven't a clue, either. Nice performance though, and a lovely melody. Very good sound. I put up the question on the Phil Woods Board. Will let you know if an answer comes.

I watched that game, and you know what GA, Hamilton may be the real deal this year. Burris really has a hot hand. It will drive Argos fans nuts if Hamilton makes it to the Grey Cup this year (being played in TO).

It could help; though ear wax seems to come and go of its own accord.

I know from personal experience that just a very little ear wax can greatly affect one's hearing (and sometimes one's comfort). And when it eventually gives way, it's like you are in a whole new world of audio delight. Anyway, I'm glad that whatever it was has cleared up!

Listening to that (which I haven't heard for years,) reminded me that there was a time when a good many musicians made a good living in the studios.

I would have thought that was nicely taken care of when she married Elvis Costello. Nothing against Diana K., mind you. I enjoy several of her recordings and can leave the rest.