JSngry

The Other Woman That Girl Philip Marlowe

I always thought that Sinatra's reading was one of appreciation of his kind of "broad", one who's as dismissive of presumptuous pretension as he himself was (or felt he was). Certainly not misogynistic. http://www.youtube.com/watch?v=mF8UEWYDpDc IIRC (and it's been a while), isn't the gist of the movie the competition between the Hayworth & Novak characters for Sinatra's affections. and isn't Hayworth a former stripper turned society diva & Novak a naive/simple type? More than that I don't remember, but it seems that Sinatra is either defending the Novak character, or reminding the Hayworth character of how he used to like her better when she was a "tramp", i.e. - somebody less concerned with putting on airs. But maybe I'm getting that part wrong. Either way, I've never heard the song as a put-down, at least not of the subject of the song. It's always seemed like a put-down of pretense to me.

Furtwangler's "Wartime 9th" ('42, Berlin, Radio, To honor the fuher)...how much of what I'm hearing is my projections of the drama onto the music and how much of that drama is there if I don't know Furtwangler from Boston Strangler?

Tommy John's Son (assuming that he has one) John's Son Tommy (you know, those guys) Phillip, Queen Of Farts (or so the story goes)

I got my son (and daughter, fathers, don't unduly lavish on sons and not pay equal heed to your daughters) to love vinyl by mixing it with SpaghettiOs.

Yeah, that's just the way it goes with that stuff. Frustrating as hell to live through in real time, but when viewed cumulatively, in a longer-ish retrospective, not nearly as horrific as it seemed at the time. And as you say, some stuff that is really very good.

This is pretty much the "one" Kirk flute solo for me, there's a lot more, much of it fine, but as a single summation, this is it.

Jeru Jesuit J. Charles Jessup

These are not the original lyrics? http://www.youtube.com/watch?v=9gwZC5s2IU0

Earl Weaver on Paul Blair:http://www.baseballnation.com/hot-corner/2013/12/27/5247218/paul-blair-obituary-center-field-defense-dead Those Orioles teams of the late 60s/early 70s, those were teams I really "imprinted" on and followed avidly. I still remember getting home from school just in time to see Paul Blair catch the last out of the 1966 World Series, the one nobody gave the Orioles a chance to win. Paul Blair jumped, and so did I.

RIP Paul Blair http://www.lonestarball.com/2013/12/26/5246770/paul-blair-former-major-league-outfielder-has-died-at-the-age-of-69

Ah...ok. Thanks.

Trampas Judge Garth Brooks & Dunn

Includes the first ever recordings of the collaboration between Coltrane & McCoy Tyner. What are they calling that?

Not sure if I understand why there would be surprise at the love of the Prestige recordings...some more than others, sure, but still...this ain't 1966, ya' know? That whole "yeah, well, the early stuff was ok for it time, but the shit TODAY is where its REALLY at" thing is over. Trane's dead now, and if I see Interstellar Space as his ultimate achievement, that doesn't change the fact that he's still dead, so it's ALL "of its time", if you know what I mean. We know where the destination was - 7/17/1967, that was the end of any hope of a further TODAY. Where it might have gone is so much wankery, and where it may yet be is not going to involve any new music from John Coltrane. So, if you dig Trane, you're gonna dig Trane, I should think. Favorites & preferences, of course, but we've had almost 50 years to look at the totality of the work and adjust perspectives accordingly. The dude made a lot of really good music, and a lot of it was on Prestige.

The YAL record with Rene McLean is a deeply quirky gem.

Fausto Papetti Michael Faust Gina Piccolapuppula

Blake Edwards Julie Andrews Mouse & The Traps

Would something from 1971 be ok?

Playing the "Three Bs" this morning. That's one B.... And here's the other two!

Wozzeck Marie Tommy Dorsey

I guess "liking" a tone is subjective, but objectively, you'd be hard pressed to find anybody who had more control over the sonics of the tenor. All the manipulations he'd do to notes, the tone stayed perfectly centered, the pitch totally true (even on the "in between" notes. A lot of people did "those things", but I'll be damned if I can think of anybody who did all of them that well. Nothing, and I mean, nothing, happened in his sound unless he put it there. Ask any tenor player who the master of open side key fingerings is, and if they don't say Yusef Lateef, they're either being silly or else just don't know any better. Those notes are supposed to sound "different" than regular fingerings, but Lateef made them sound different in color only. Most guys, there's a change in pitch, or density of tone, or direction of the sound column, something. Not Lateef. He could play the tenor like it had a slide on it, and in pretty much any register using pretty much any set of fingerings. And with a big, fat, full sound that came from the body, not the equipment. Subjectivities aside, when it comes down to the physics of the tenor, the guy was a true giant. He did well on oboe & flute, but that tenor, yeah, as far as the science of the tenor goes, this guy was at the top of the pyramid. I get that there's individual taste that comes into play, but past that, there is objective mastery of a certain approach to an instrument, and by that set of criteria, Yusef Lateef was an unquestionable master. Let there be no disputing that part of it.

I remember a Geller interview in JJI (iirc) where he was talking about Ornette, and he loved Ornette, Ornettes stayed with him and Lorraine for a while, I guess, but he (Geller) souldn't resist saying something along the lines of, well, he was really original, really gifted, but he never could play regular worth a flip, or something like that, some way of saying that he admired the genius but not the skills. I don't hold that against him, b/c it's the way a lot of people thought then, and still do think, that there's one common "right" way or thing and that to deviate from it too far you must do so as a fully conscious choice, not as some kind of impulsive urge, because then it's just....wrong at some level. I get that way of thinking, don't completely disagree with it, but sure don't believe it, and certainly don't accept it as absolute. But many fine people do, and apparently HerbGeller would be counted as one of them. A fine fellow and fine musician who just felt that way. Worse things have happened.

So long to one of the best tenor sounds ever, and to the man who understood what it took of both him and his instrument to make it. Too much given for this to be called a "loss", it's our gain, but still...sad to think that there will be nothing new coming form him who was always looking at the new, and finding it. Much love, much thanks, and now, rest in peace.

Big Strong Jackie Gleason Big Strong Wilt Chamberlain Big Strong Rifleman