JSngry

yep! that's a splendid record, not one false move. One of Wayne Henderson's best productions, imo.

Mercury!

Here, have some dirty butt blues!

So, are the pitchforks and switchblades out for Girardi now, in the bright of day? Didn't see the game until the very end but saw the replay repeatedly thereafter, what was if, a failure to communicate from the booth or what? Seemed totally challenge-able, truthfully.

http://www.billboard.com/articles/business/7990197/jazz-drummer-alvin-queen-denied-entry-us

Well yes, I do!

Thanks for that pointer, then I have him on two records!

Canadian has Thanksgiving before Halloween? Is that not risking a pumpkin famine?

Always, more. But what's the deal on Don Abney? I have him on a Music Minus One record with Bobby Donaldson, Mundell Lowe, and Wilbur Ware, and that's it. For that matter, bobby Donaldson, what's the deal with him too? Let's make a deal, Monty, and here's some more of the ella for all of us. But too much teeth will ruin your appetite: and now your teeth fall out by george!

https://sportsday.dallasnews.com/high-school/high-schools/2017/10/05/denny-garver-famous-good-gosh-o-mighty-call-1994-plano-east-john-tyler-epic-dies-60

https://www.axios.com/trendy-the-church-turned-brewery-2493727987.html?utm_medium=linkshare&utm_campaign=organic

Don't worry, the fix is in, Yankees gonna make baseball great again!

Haven't been "big" on Shank of any period for decades now, but I will say that, increasingly, I (mostly) find his mid-60s "pop" albums to feel like a proper/ideal balance between player, material, and settings. If it were that easy, everybody would have done it. Occasionally they'll be annoyingly generic, but often enough, sweet (no pun intended) spot hit (no pun intended) well enough.

Note to cover designer...

I'll wait for this one. Are Bentzon close enough to Benson to count?

I've never heard a Coltrane version where the B-section is as literal a transposition as Turrentine made it. Maybe Porter has.

The melody staying the same in both sections is the Turrentine version, from Sugar. That's what is (or was, for a loooong time, no idea what the current ones have) in The Real Book. The person making the disparaging comment was a reasonably well-known obscure trumpeter that I had occasion to jam/hang out with one afternoon in NYC. He was on a rant about people no longer learning by ear and that was part of his rant (which also included a "yeah, that's why I'm never going to be this type of player" reality check for me story about how he got a call for a tour with Horace Silver and had to learn the book literally overnight. Not everything Horace ever wrote, just things that were going to be played on the tour. Like, yeah, I don't learn anything that quickly, even sometimes my own writing...so, stay local, right?) No sense in "name dropping", because it was just one afternoon out of both of our lives, but a lesson learned is a lesson learned.

hope all is well (enough)...

yep!

Right, that's a doubling fee, you get paid more if you double (or truiple, etc.). Some instruments would get paid cartage too, compensation for having to haul shit around. As far as getting more than scale, that was probably more common back in the day when work was everywhere. In these days of computerized/digitalized scoring and performance, probably not so much. But I seem to recall hearing more than once that guys like Bud Shank, Barney Kessell, etc. would demand triple scale because there was so much work for everybody that unless it was a labor of love, they needed to get paid. And they got it. This was in the 50s and 60s. Around here, there was demo work and jingle work aplenty through most of the 80s, and guys who played those gigs still made those types of demands. There was a budget, so they got it. They guys with a MIDI setup in their garage started doing it for the cost of one or less players, and that was that. But that was then, that kind of thing is over today, everywhere, really. I knew a few guys making good bread living in NYC during the late-80s/early 90s doing session work for Japanese karaoke tapes, steady, decent income. All done now.

If they're union gigs (and I would assume they are), remuneration would be both proper and timely. And first-call people can "demand" more than union scale. Supply/demand/Available budget (and I've never yet to see a project that had an already large-ish budget that couldn't manage to find a few buck more for this and that...sure, there will be bitching and moaning, but there will also be a few extra bucks available if they REALLY want something). But keep it in perspective - what guys like Underwood get, people who serve in secondary or lower roles, is but a fraction of the overall budget. The budgets are huge in these things because, well, look at the credits, look at all the people who do work on these things. I'd imagine there are more that don't get shown in the credits. So something like "special programing" or "instrumental soloist", yeah, that's going to pay good, sometimes REAL good, but...that income alone is not going to get you rich. Maybe buy a house and live decently, yes. But the piece of the overall pie that its is really not significant. Not that it should be, but do know that "working a lot" and/or "working a lot of lucrative gigs" is in no way a guarantee or predictor of lasting financial security, especially if somebody takes that income and tries to grow it through investments of whatever nature. And a cat like Ian Underwood, he may or may not get equipment gifted to him by leading companies for testing/promotional use, but most people don't. Just saying, like it or not, money is a game, and if getting it is hard enough, keeping it is that much more difficult, and growing it is, as they say, a "risk". There is risk involved, they tell you that right up front, so don't say you weren't warned. If you strongly believe in truth and beauty and commit your life to the pursuance of same, you can see where there might be, uh.... a conflict or three along the way.

I'm not being sarcastic. I've been out of the current/popular movie loop/habit for 10-15 years now. I've seen Walk Hard, Jerry Before Seinfeld, Anchorman (the first one), The Cable Guy, and some episodes of some of those TV series, not a lot, although I really do want to binge-each Larry Sanders. I've only seen these on cable, and then mostly because I was in the room with people who wanted to watch them, and it would have been rude of me to refuse. I've really enjoyed what little of his work I've seen, but movies have not been my thing for a good while now. Seriously. So although I have heard the name (because "the industry" makes it dam near impossible not to hear names), I really have no real idea about who he is or what he does. I do hope that he does right by Mainstream, though. That label's never really found a loving home. It's time. That Ricky Bobby movie sounds pretty funny though. Is it on Netflix?

The comments talk about how the melody of Trane's "Impressions" did not simply replete the original them up a half-step. Porter in his main article seemed to imply that such was the case, but I know he knows better, and he clarified in his response. Your Real Book version, otoh, does not know better. I once heard that described, none too enthusiastically, as "the Stanley Turrentine version, can you fucking believe it?!?!?!?!?!"