JSngry

Indeed. I watched Under The Cherry Moon last night and was totally drawn into the comedic sensibilities of it, a very broad range of references, targets, and techniques. Jerome Benton should have gotten an Oscsr! Not a perfect fim, but when people start talking disaster and such....noooo. Anything but that. And Claire Fischer getting a very nice end credit, not just for orchestrations, but also for bringing the color to the black and white (I think that's the exact phrase), and that has meaning past the immediate context, I think, for Claire Fischer was a writer who always brought the color!

Mine as well! #24 forever!

I'm wanting to say a young Corky Corcoran, but am not really sure about that.

Can we confirm whether or not this actually happened to this author, or is it something he wrote as a warning? I mean, I'm with him either way, it's just that his own comment in his article disclarifies the veracitic nature of the incident's reportage?

Nelson Cruz Oliver Nelson Pam Oliver

Patty Waters Sam Rivers Delia Smith

Shelby Foote Craig Bayse Lena Basquette

Billy Byers Quincy Jones Cue Porter

Reading the comments...doesn't the author say that his story is "just a warning" or something like that? Does that mean that his chat with Amber was apocryphal? No matter, just as I don't bet more than I can afford to lose, I don't let go of hard copies of things that I don't want to lose. This cloud stuff is great, but, still, if you want to really be sure to have it...

I've only heard a copy of this, share your regard for it, and am totally delighted by that cover photo!

The Family Dogg Dig Dug Doug E. Fresh

I had ev ery intention of going but family matters arose which prevented it. I did buy the Hyla CD We Speak Etruscan and enjoyed it just fine, so I feel like I missed out by not getting out. Oh well...

Just once, but the socks have to want to change?

Slide Hampton at an Aebersold clinic...not at all a "clinician", more like a big brother. You could talk to him about the music, or the social aspects of the music, or how personal concerns could get into your head and affect your playing, all this stuff, and not just in the clinics, especially not in the clinics, in the off times, just hanging out. He would always listen, and always respond honestly and personally. Helluva good guy, a contributor in the deepest sense, he contributed his life to you.

I see where the always revered Johnny Hodges informs us:

Had to force myself to take a hard left to get Sonny's Roadshows 4 out of the changer, and this was at hand. Function served, and music also enjoyed.

Who published it?

The Naughty Lady Of Shady Lane The King Of Madison Avenue King Of The Road

The asynchronicity of much of the music sometimes worked quite well, as when "Sanctuary" started playing when Miles went to jail and here comes Frances after the Birdland beating. Even though that's a Wayne tune, the question of how much "current" music is actually informed by past events is a pretty good one, and that scene gives a convincing answer. As for the gangster/thug/whatever element, no problem here. Miles himself was not detached from that element of life, which for his time/place was not unusual. Some people thought that the Corky McCoy cartoon covers were silly, or misdirected, or whatnot, but I think they told the truth abouth what they and the music inside them was all about, of course, with the unique Miles Davis element inextricably infused. Or put another way - you gonna be do that much blow in NYC/Urban America for that long and not be around that type of world? Not in my experience!

Rangers in Tease Mode already, not sure if my towel order for this year was sufficient.

Maybe wrongly, maybe notly, I've gotten the impression that Braff was more what they used to call "salty" not so much an asshole, just frisky and brisk and not one to mince words or disguise feelings. To me, a real jerk is somebody who fucks you over and then shrugs it off like oh, too bad, no real empathy about others. But that is not salty.

I liked it a lot, in an "autumnal" kind of way.

Blythe had a good run for Columbia...I think he was signed before the Wynton thing hit really big...iirc he was a hit item at the Tin Palace, a club where Crouch was a regular, back when Crouch was advocating for the freesiders, especially those like Blythe & Murray who he was familiar with from his LA days. Blood, for that matter, was getting quite a bit of NYC stir, not so much from "jazz" as from the "No Wave" crowd. It was a time when "loft jazz" was a buzzword, not just musically but with marketing as well. It was a crazy time, really, Columbia's jazz binge starting mid-late 70s, more interesting activities than first recollection might suggest, vault material and new releases, pleasant surprises and raging disappointments. Then it gradually cooled off into the whole "Young Lions" thing, industry evolving one way, actual music another. But Branford did give Henry & Ware their shots, so, credit for that. But that was Branford more than "Columbia". OTOH, Columbia's jazz had always been eclectic, and never wholly existed apart from marketing angles.

Has Odyssey seen reissue at any point? That one really gets me, Charles Burnham, one big Harmelodic Hoedown, I'm a fan. Hopefully WB gets to all three of 'em, they're all worthy.