JSngry

Newbie to the board, but not to the music. Not in any way.

That's the beauty of having these bigass TV screens to look at now, when you get a quality version of an old show, the details are a lot more easier to notice, especially when it comes to the more subtle physical/body things. Watching an ensemble cast have not just a collective verbal rhythm but a collective physical rhythm is a real treat.

Sometimes the experience of time not standing still causes the impression of spatial discombobulation.

Was the answer ever revealed?

https://forums.allaboutjazz.com/

On CD-R, sure...

He was. RIP, and good lookin' out with that camera.

I will say this, that "Live, Love, Learn" sounds like a lost Jerry Ragovoy record, never hurts to that to happen to anybody.

So far, the only thing on Buzzr I really get into is the B&W TTTT/What's My Line/I've Got A Secret block on weeknights. Them's my jams. I wish they would pull out the early syndicated color TTTT shows w/Gary Moore...those sets didn't just engage psychedelica, they actually advanced it!

Ok, I finally listened to this today. It's not junk, but it's not gold, silver, or bronze either. It's..."ephemeral", that's what it is, the 1969 stuff extremely so. The main thing it left me wondering is what Betty Mabry would have sounded like if Willie Mitchell had gotten hold of her. But then she might never have gotten full hold of herself, and that's where things took a turn for the interesting.

Watching Mary grow the Laura Petrie character over the Van Dyke show's run is pretty amazing, actually. She started out as more or less unsure about what to do, then figured it out, then ran with it. By the end, she was every bit Van Dyke's equal for physical movements, facial subtleties, vocal inflections (beyond the obvious ones that she always had)....her and Van Dyke could both dance, and sometimes watching a Rob & Laura conversation had all the elements of a dance routine. Yeah, I had a crush on her, and one that never went away, if anything, it grew. But it grew because the older I got, the more I watched her work, the more I saw that this woman had skills, deep skills, and she respected them in herself as well as in others. She knew what she had, and she knew what others had - or didn't have. So long, Mary.

uhhh...this is no newbie...

Edwin Newman Frank McGee Sander Vanocur

Be specific in your grievance, please!

Strictly historical. Been watching Collyer-era TTTT reruns on Buzzr lately and have gotten fascinated by the people of the show. I know that Bean appeared on the daytime show for a loooooong ime, and that him & Collyer never seemed to be at odds, so when I found this tidbit, it was kinda WTF?-sih, not about Collyer or Bean individually, neither surprises me, just that collision and its aftermath. otoh, saw a Tonight show rerun with Bean as guest where he could easily have been stoned out of his gourd, he's going on about having an encounter with a butterfly and feeling like they were talking to each other and Johnny was like, you know, deferentially GET ME OUT OF THIS, you know how Johnny could be. That shit was wack, I mean, Orson Bean was SERIOUS about this butterfly shit.

That Duke cut was unfamiliar to me until this but once I found out what it was, I ordered the CD. Agree that the "workshop" tapes are all worthy of investigation, and sometimes contain real gems, as this one. That tempo, that band...deep, at least to me. But... It appears the "Elos" ended up as the "Martin Luther King" movement of "Three Black Kings" and....; listen to this...seriously? I mean, maybe this is how Duke wanted it to end up for posterity, but... Anyway, I remain deeply suspicious of posthumously revisionist Ellingtonia, I don't care who it's from. But it's a credit to Duke that they had to wait until he was dead before they could even begin to try to box him in.

Don't forget Saxophone Colostomy, the group of 29 high school saxophonists (of all creeds, colors, and orientations) who play Rollins solos (but only those from the 1950s, they've had all the others scientifically verified as unmusical by The National Bureau Of Standards, Waits, & Measures, so you know they got it right) transcribed for neutered parakeets & pitch-neutral piano, and who play so everything perfectly that their metronome beeps in perfect four-part unison! Best of all - as Legal Minors, they work for free, so anybody can afford them! Nobody feels cheated, therefore everybody is happy, of such things are Golden Ages born!

And let's not forget Norton Budlite, Ryan Boulachilli, Pam Wham, and Filadaeus Moclephony.

per Wicketpedia: https://en.wikipedia.org/wiki/Bud_Collyer During his 1950s heyday with Beat The Clock and To Tell The Truth, he was a leader in an overtly anti-Communist faction of the New York chapter of the American Federation of Television and Radio Artists. That faction supported such publications as Red Channels (the famous list of 151 reputed Communists or reputed fellow travelers, as the term was then, in radio and television) and interest groups that shared the authors' politics—groups like AWARE, Inc. (co-founded, in fact, by the man who wrote Red Channels' introduction), purporting to screen broadcast performers for actual or alleged Communist ties, pressuring networks and advertisers to shun them under threat of boycott. An opposing faction, led by CBS radio personality John Henry Faulk and Orson Bean, defeated Collyer's faction in an election to run the New York union. Soooo.....that's some pretty intense stuff, yet Collyer & Orson Bean never appeared at odds on years of To Tell The Truth. I guess they worked it out? Or faked it really well? Or what, is Wicketpedia providing me with alternative facts here?

awwwww....RIP and much love.

Oh, Joshua Redman. Ok, yeah, sure, same thing only better!

Adam Cartwright Eve Arden Eden Ahbez

I can't see that video at work...who/what is it?

Just wondering...what passes for "vigor and technique" in the marketplace of ideas these days?