duaneiac

Disc 1 of 2, which contains the broadcasts from Oct. 7 & 14, 1944. Lee iley sings "Someone to Watch Over Me" and "Don't Blaem Me" (including the seldom sung verse on that one). Red McKenzie (unfortunately) sings "Sweet Lorraine". I have to be in the right mood to listen to Red McKenzie and today I wasn't.

In the area of Goes Latin albums, Sonny Stitt beats the earlier Ted Heath entry by a mile (or two)!

Somehow I missed this film version of this classic eternal conflict --

! Catherine Russell is such a great singer and she really brings these vintage songs to life. ! One of Carmen McRae's best! I wish I'd had the chance to hear her perform in person. My recent listening: Both albums recorded in 1960. Includes the albums Yellow Dolphin Street and Catalonian Folksongs, both recorded in 1977.

Legendary comic Don Rickles, a rapid-fire insulting machine who for six decades earned quite a living making fun of people of all creeds and colors and everyone from poor slobs to Frank Sinatra, has died. He was 90. Rickles died Thursday at his home in Los Angeles of kidney failure, publicist Paul Schrifin announced. https://www.yahoo.com/tv/legendary-comic-don-rickles-dies-175908685.html

Oops. Missed it.

The Beat Goes On label is releasing a 2 CD set which will reissue Bobby Hutcherson's 3 Columbia albums from the late 1970's, Highway One, Conception: The Gift of Love and Un Poco Loco. Currently, Amazon and CD Universe show a release date of May 26, 2017.

On half of the tracks from the original 1960 album, "some of Basie's cats" appear -- the Two Franks, Al Grey, Joe Newman and Freddie Green. The Lonehill Jazz CD reissue also includes the album Deep Roots from two years later. Much of my listening lately has been the audiobbok version of Elvis Costello's new memoir: I'm currently at Disc 5 of 15. He has a lot of interesting tales to tell, and in the early discs, it's not always so much about himself as about his parents. His father was a singer with the Joe Loss band and came into contact with a lot of the stars and up-and-comers in the UK music biz of the 1950's and 60's and on occasions when young Declan might accompany his dad to a gig, he got to meet some of them as well. His mom worked for a time in a record shop and was instrumental in smuggling some Lee Konitz and Lennie Tristano records into England for a customer (a tale Mr. Costello was able to recount to Mr. Konitz years later when the latter made a guest appearance on one of his albums). He seems to be aware of his own limitations as a singer and songwriter (at least, it doesn't sound like false modesty), but is justly proud of his best work. He does jump around in time a lot here, as one experience in his youth might remind him of a situation from much later in his life, and my lack of knowledge of the geography of the UK & London is a bit of a hindrance. I've always wanted to like Elvis Costello's music more than I do. He seems like an intelligent enough chap with a world view beyond just "sex & drugs & rock 'n roll", but outside of the usual hits, most of his music just hasn't done much for me. Still, he is an interesting storyteller.

But even a record date, at least as far as classic era jazz recordings go, meant just that "a date", one day of work. It's understandable that once in a while even the most respected group of musicians can be gathered together in a recording studio for one day and none of them, for whatever reason, really hits the groove on that particular day. A film though, requires months of work, from writing the script and pre-production, to the actual filming, to the editing and post-production work. During all that time that was spent making The Last Tycoon, surely somebody must have realized there was simply no there there. I hope every one was at least well paid. I'm sure the studio lost money on the deal (and they deserved to).

A somewhat comedic action-adventure film that just goes on way too long. I'm afraid the filmmakers fell in love with the exotic locales of Brazil and designed a story to show off all of it, from Rio to Brasilia, including favelas, rain forests, rivers, etc. It's hard to figure ho so many people with proven talent could work so hard to produce something that is so monumentally pointless.

I like all of the albums that I have heard that were recorded by Johnny Hodges with Wild Bill Davis.

Rare/previously unreleased tracks from the likes of Aretha Franklin, Esther Phillips, Irma Thomas, Mary Wells, Dee Dee Sharp and more. A favorite album of mine. I owe a debt of thanks to my old college dorm roommate (sadly, now deceased) for introducing me to this album. I'd previously heard the tile track and "Here Come Those Tears Again" on the radio, but it wasn't until I heard him playing the album that I fell in love with the whole album and have owned it on LP, cassette and CD since those days. It's all the Jackson Browne I own or really need, but it is a masterpiece (even if I frequently skip over "Linda Paloma").

Starring Rupert Everett, Colin Firth and Cary Elwes. One of the bonus features on the DVD was a clip from an early 1980's TV entertainment magazine type show which included a videotaped segment from the original London production of the play upon which the film was based. The play starred a couple of fresh, young actors, Rupert Everett and Kenneth Branagh. It looked like a professionally made, multi-camera taping of the play. The movie was okay, but I'd sure like to see that taped version of the play.

A fabulous album! I guess it's been years since I heard "The Circle Game" and for some reason, listening to it while driving home from work last night, it really struck a chord with me. I hate driving while crying.

Or to do things like this

The Smithsonian Folkways CDR reissue of this album. Ms. Williams talks about jazz and plays examples of different styles -- blues, boogie woogie, KC swing, etc. Not the highest of fi and there is no information that even a moderate jazz fan might not already know, but it's worth a listen. I can't comment on her French and Portuguese skills, but it's a lovely album. One of her best albums. Here she was backed by a simple quartet of masters: Hank Jones, Gene Bertoncini, Ron Carter and Grady Tate. None of them really get any solo space, but they know exactly how to accompany a singer.

The Maybeck Recital Hall series on Concord. This series really introduced me to a number of pianists, some of whom I'd only heard of as sidemen, some of whom I'd never really heard of at all at the time -- Don Friedman, Joanne Brackeen (who suggested to Carl Jefferson the idea of recording at Maybeck), James Williams, Fred Hersch, Ralph Sutton, George Cables, Barry Harris and others. It's interesting to hear all the different pianists in the series recorded in the same venue and, I assume, the same piano over the years. A lot of the discs are excellent solo recordings. I wish the series could be revived today, but I don't know who owns the Maybeck hall today and if they (or Concord) would be open to the idea.

Ha! I saw what you did there! You took that sign outside the KK quite literally! My recent playing: Recorded at a concert in Brugge, Belgium 20 years ago. Ms. Jordan announced at the start that this was the first time she performed publicly in the duo format with Mr. Brown. They worked superbly well together. The Dorothy Ashby half of this two-fer disc. Disc 1 of 2. Helen Ward is best known for her time with Benny Goodman's band, but this 2 CD set collects her Columbia recordings from 1934-53, so it includes the pre- and post-Goodman era as well. She got married (to record producer Albert Marx, the man responsible for recording BG's Carnegie Hall concert) and "retired" at age 20 in 1936, before the Goodman band became such a phenomenal success, but she did record occasionally during her marriage (with groups led by the likes of Teddy Wilson, Gene Krupa and Joe Sullivan) and somewhat moreso after her divorce in 1943.

90 minutes spent with Ingrid Bergman is never a waste of time and this is an enjoyable comedy.