JSngry

Paratrooper Leonard A. Funk, Jr. King Of The Bloopers Kermit Schaefer Louis Armstrong

Jack Bailey, Longtime Host Of TV's Queen For A Day http://www.youtube.com/watch?v=G7HdYjrQRAg Bill Cullen, Longtime Host Of TV's The Price Is Right Ruth Price, Longtime Singer Of Some Repute

Not only are the numbers of surviving veterans of WWII rapidly diminishing, so are the numbers of surviving veterans of WWII-themed TV shows. It's a somber, sobering thought.

The Watts 103rd Street Rhythm Band 102 Dalmatians 101 Dalmatians

Frank Bridge Brooklyn Bridge Johnny Maestro

I'd prefer that they were, honestly.

I walked into Fat Tuesday's in 1979 to catch a set of James Moody, and Al Harewood was on drums. Surprised the hell outta me, because being young dumb and unfocused, I figured that since I hadn't seem his name on any records that he was already dead. Well, if he was, he sure didn't play like it, played his ass off, and Moody reciprocated. That was one of the early indicators I got that records are not THE history, they were just a selective part of it. Al Harewood LIVED! So, yeah, RIP, and thanks much. Ever since that night, if I see Al Harewood on a record, I buy it, if nothing else, for a reminder.

Truthfully - truthfully - I think this whole "overrated" and "underrated" thing is missing (or at least diverting) the point, which is, I think - truthfully - appreciation, fuller appreciation. Not necessarily of the music as "music", but as human in-deavor, both of the individ-uals, and of the cultures (overlapping and specific) that created these things. And then, take that appreciation and go forth, not looking to "rate" (ie.- "measure", which is such a limited concept, really) but to appreci-rate! Yeah, some things will be nearer and dearer, but that's one thing, among many. Or hell, do it in reverse. But just do it, because people never really change, never, not really. It looks like they do, but no, not really, they don't. They just don't. So...yeah.

Call Girl Hey Girl That Girl

And...The Music Of The Spheres is often far enough evolved that one could be forgiven for hearing it blind and thinking that the works were those of a "Silver-influenced" composer. No paradigms ever get shifted, but there is a slow but ongoing evolution on display with Silver's Blue Notes that can be interesting in and of itself, if one i so inclined as to be interested in that sort of thing. I often am (or have been), but I can see where that will not a universally held opinion. And hell, if all you wanna do is dance, hey, there's this, all day long and into the night:

"The Jody Grind" is top drawer in my book. Further Explorations is the real sleeper, imo..."Moon Rays" is an exquisite round trip of a ride. Not so much the tune itself (nice, but...), but the arrangement, the pacing, the dynamics, the whole group thing. You don't hear too much jazz of any kind that rolls it around like that in just one piece. 6 Pieces too, that one is a blast from start to finish, but if I had to be stuck for a couple of days listening to the intro to "Enchantment", I think I'd survive it jsut fine. Again, the tune is pretty "obvious" in it's math, but here again, flavor is there to be extracted, and it's all good like that.

Damn...I might too...I don't even love bill Evans, but the respect for/price-per-disc ratio is really favorable on that one...consider the Tetanus Booster Not Required factor and we might have a winner here, perhaps...

It was the hair and the clothes. Bill Watrous was good about that too, in his own weird way.

That Prelude was borderline beautiful, actually..

Yeah, that was one funny guy, skills and instinct out the ass. And always a good dresser. Consummate professionalism! RIP, and thank you, sir.

Just realized that nobody's mentioned the George Wein impulse! album. All conceptual notions of/fascinations with moderninity aside, that's my favorite Pee Wee on impulse!

Ok, I finally decided to push ahead and read this sucker. Began yesterday during what was hoped to be a long, leisurely late-afternoon bowel movement. Read the Prelude and was thinking, hey, this is pretty damn good, I'm gonna like this! Then, literally three pages later, I was thinking, OMFG, what happened, this is NOT good. I mean, it took the Hindenburg longer to blow up than it did those pages. Thus ended the bowel movement, dammit. Will finish the book, but fully expect to have the same type of wildly erratic quality swings all the way. Paging Herbert Morrison!

My new CTIs were always cleaner than clean. The used ones are almost always noisy, probably a function of being bedroom and/or party records, perhaps. It's funny, because this one local jazz DJ went from station to station for over 20 years, and I think he took his collection with him. He'd play Bags' "People Make The World Go Round" several time a week (when Sunflower was released, he'd play it every night, for at least a year or two) for all those years, and after a while it got to be a game o listen for the new pop in the record. One night it dawned on me that, gee, I grew up with those scratches, so to speak, and it moved me to tears. Well, maybe not to tears, but it did get me to hearing pops on records with a whole new level of appreciation and affection, at least sometimes. Just remember folks, every time you hear a pop on "Povo", somebody's busting a nut somewhere, or has. One day, if you're lucky, it will be you.

fwiw, the first two were promo copies that ended up in two different Stan's Record Stores. A lot of promos ended up in those stores (especially Fantasy/Prestige/Milestone stuff for some reason...considering that Paul Serrano placed some things with both Paula & Prestige, I wonder if that was a/the connection?), I always looked forward to going into Shreveport because there were always Stan's to hit, and there would always be good stuff to get at prices too good to refuse. Stan Lewis...that's a name for record geeks to be familiar with, not just as producer, but as merchant. I got one of his last catalogs a decade or two ago, one from his distribution company, and the things that were offered in there were things you'd not really find anywhere else. Tons of 3rd tier Blaxploitation films on VHS, and big boodles of regional Gospel & "Chitlin' Circuit" Soul of recent vintage. Stan Lewis was a guy who covered many bases, but his meat-and-potatoes was the regional African-American market, East Texas, Louisiana, Arkansas, not too much beyond that...but there's a lot of market there, if you know what I mean. Lots of rural/semi-rural/not-even rural communities and solo flyers who listened to the radio and played the jukeboxes when they came into town. And hit the local furniture store, drug store, or even record store. And when cassettes took off, forget about it. Every, damn near every store that sold damn near anything would have one of those little carousel things at the register that held a small number of tapes, and Stan Lewis had inventory in all of them. There was a market to be serviced, and Stan Lewis serviced it. Perhaps forcibly, perhaps not. There are stories, but how true they all are, I'd not begin to venture. He's in the Louisiana Music Hall Of Fame for good reason, but that catalog was a window into a world that if you didn't know it was there, you'd not even think to look for it. Fascinating.

I have practically never seen one of these that wasn't a cut-out, no. I think first-run sales for some titles must have run in the dozens, or even less. It's also rare to find copies of the first two Braxton Aristas that aren't promos. It took me three tries to get a copy of Ayler's Vibrations that didn't have Side One pressed on both sides, and then it was only by finding an non-Arista UK Freedom copy.

Brian D. Zeyer http://www.intelius.com/people/Brian-Zeyer/0ck613zqsxx Jeffery D. Zeyer http://www.advancedbackgroundchecks.com/d/jeffery-zeyer/1320955249 Dana D. Zeyer http://www.advancedbackgroundchecks.com/d/dana-zeyer/101032869

Micheal Anthony John Beresford Tipton Hugh Pangburn

Am I Blue is perhaps better appreciated when one begins to be tired without expectations of impending youthful uber-revivification. That used to not be me, but now I am becoming that. Perhaps not coincidentally, I find the record sounding better and better to me.

Vidal Sassoon Donald Christlieb, Bassonist Warne Marsh, Occasional Musical Partner Of Pete Christlieb, Son Of Donald Christlieb, Bassonist