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Julius Cheeks Willie Weeks Joe Williams

Art Modell Dorian Gray The Locrians

The Road To Hell, wasn't that one of those movies with Bob Hopeless, Bling Crispy, & Dorothy Unmoored? Not much of a script, but oh, the songs!

Hey Bev, have you seen this? Stumbled across it one night, watched it on a whim, and was mesmerized. Like you, never had even a whiff of interest in ballet. No longer true, although still have not gone to see anything live. There's so many local companies of the "student" type, and I have a flashback to attending a friend's girlfriend's student dance recital in college that was the beginning of the one bad acid trip I had in my life, a truly ugly, horrifying experience. So no, I don't do ballet live - yet. But something like this, I would go see in a quick minute!

Spent the weekend going between Shameless & Albert Hitchcock Prevents.

Quo vadis, homie?

Not a fan, but Granted, It's Gogi, with fine charts by Johnny Mandel shows that she might not have been particularly hip to the trip, but she was cool enough to not fuck it up, sometimes when those jazzypoppyswingy things happened, the singer's pocket and that of the charts were clearly at odds, and that did not happen here. So - RIP just for that,

Chano Pozo Chino Pozo The Pozo-Seco Singers

Ok, thanks, that's the last piece of clarity I was looking for. I knew there were post-sale royalties, just wasn't 100% about who was on the hook for them. What this means, then, is that the publisher gets/should get "paid in full" before an item even goes on sale. Sweet deal. especially on a small scale pressing, even if it's not a lot of money, at least it's money paid, not money owed. No wonder they say that publishing is where the "real" money is.

Need somebody with experience here...do royalties also get paid after items are sold, or is that what the licensing fees cover, and why they're based on manufacturing #s?

Not just named after Kodaly.

Dude, it's over 50 years old. Nobody's getting it early.

The Blockheads Prickle & Goo Buddy & Pickles

Ted Key Little Ricky Charlie The Drumming Clown

http://www.amazon.com/La-Maison-Radio-Jean-Francois-Achilli/dp/B00IACUORO?tag=duckduckgo-ffcm-20

ART CARNEY Sheila McRae Jane Kean

"Runaway" on 78? whoa...I'm getting shivers thinking about what that organ part sounds like on a 78... Was "Telstar" ever on 78?

Ivor Novello Father Guido Sarducci Papa Gelasius

Ethel M Doom Ethel Mertz Dick Hertz

The license fee depends on copies manufactured, not sold. You pay that before you even start trying to sell copies.

McPherson had some guts tackling "I Believe In You", truthfully, and the making it work as well as he did. It's not a tune that is intrinsically ready-made for jazz, as witness: I don't believe in that. I keep forgetting about Empathy, one of the the Bill Evans Verve sides I really dig (Shelly Manne, always ready to bring it), but even here, for such a self-professed "song" guy he seems to need to get past the song in order to get into it instead of the other way around (that bridge is a trip, face it, totally driven by the character/lyric, not intended for improvisation). Ok, but... On the whole, Michelle Lee, still, but BIG props to Charles McPherson for carpe-dieming on it like that. He gets the song, more than Lonnie, more than Barry, they're looking for where the licks go in this slightly off-beat structure (not in a bad way, mind you), McPherson knows. He called the tune, I'm sure. Hell, he played with Mingus, you thing that unusual form/symmetries gonna fuck with Charles McPherson? I don't think so!

Or we can simplify and just reinforce the notion that anything you want to do for a dead guy should be run past the family first, period.

I'm still trying to get my head around reevaluating Michelle Lee...that might be the most riveting movie/screen performance of a non-documentary song I've ever seen and heard, the combination. The song itself, the singing of it, and the acting to accompany it. It's like, if Laura Petrie did Final Battle with Michelle Lee for best...Motivational Reason To Be A Success At Life, there would be a cosmitological seismetism of redefinitional proportions, life as we know it would no longer be as we knew it after that decision was realized. This is the same chick that did that POS "L. David Sloane" and The Gong Show, and Knott's Landing? WHOA! Either she got some really bad breaks, or didn't get any of the right ones, or else she didn't really go down the road where they lived, or else maybe that was the very best that she had in her and they got it there...whatever it was, damn, Michelle Lee, DAMN! I've never had a look at How To Succeed In Business Without Really Trying, long-time aversity to Musicals per se, "Bobby Morse" (loved Robert More in Mad Men, thoguh), and all that stuff in general. But between seeing bits of the Bob Fosse choreography and now knowing that there's a Nelson Riddle score and that DAMN! MICHELLE LEE!!! performance within, hey, it's time for me to check it out. Tie that back into the retro-evaluation any way you want too...I'm prone to think that the characterization of the McPherson group at the time was (mostly) correct, but also incomplete and/or besides the point past the point. My aversion to all the things that have kept me from peeping How To Succeed In Business Without Really Trying, probably the same thing, such as it is.