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Gomez Addams Preston Gomez Don Preston

Dick Haymes Gilbert Grape And Herman Melville as The Beaver

But Cyrille came out of the Mary Lou Williams gig, right? So either he was misinterpreted or else she rurnt him for any of all that, ya' know? I think of Sonny in "kill your father" mode (to use Paul Bley's phrase) on the RCA date, and...that's some deep stuff, that Sonny & Hawk would almost literally "go to war" like that, a war based in love, not hate. I think of Pres getting some literal abuse heaped on him for not playing like Hawk, and how Pres wasn't trying to kill anybody, but people felt threatened, including motor-burning-up Hawk. I think of how Hawk would just refuse to be beaten by anybody but himself on his own terms. What kind of a guy was this, anyway, this guy who refused to be beaten and never refused you the chance to try? No easy answers there, but I have to conclude that Coleman Hawkins was not - and still isn't - any trifling matter, musically or otherwise (otherwise being perhaps even the more important). Music comes and goes, but a serious motherfucker - that serious of a motherfucker - that needs to be thought about, and no, don't expect easy answers, because there are none, at least that are worth a damn over the long haul.

The sincerity's a given, at least it has been for me, always. I get the charges of "melodramatic", but only sometimes. The other times, it's either godfucking awful or godfucking BEAUTIFUL, yes. The whole "Mama Rose" thing, the one with the recitation, that's the work of a conscious, controlled dramatist, not some angsty spleen-venter. And I do mean that as a high compliment. http://www.youtube.com/watch?v=m2K3NE1Jrug I mean, hey, plenty of angsty spleen-veneters never get past and/or out of it alive in any notable form. Let's hear it for those who can be controlled and conscious about it.

"Fine defender, intelligent baserunner"...why, that almost sounds like "nice personality"!

Check out the Jaws/Hawk date, "In A Mellotone" especially. The feel HAS to change between Lock & Hawk, no way for it NOT to. A changed feel doesn't mean a lesser feel, but it sure as hell means a transition. And that's Gus Johnson!. So I'd not blame Cyrille for doing what he thought needed to be done. Hawk was not one of those guys who came to the time, if you know what I mean. The time came to HIM, and if you think that's no small feat, try to make time your bitch time your own self, and good luck with that. Not even Hawk could keep it up forever, but hey...

The lower the fidelity, the easier it is to pick up that the pitch is off. The Bird Rockland Palace stuff, you could tell right away that that was off. Lots of bootlegs are like that. Especially if you're a player and you hear a guy using some kind of false fingering on a note and you KNOW that, no, that violates all laws of instrumental physics, UH-oh. But sometimes, as with KOB, you don't really notice until you get into transcribing and then oh, REALLY? Funny how everything's come full half circle now in terms of what is better, sped up or slowed down... https://www.youtube.com/watch?v=ppZc_Lh37Vw Syrup - it's not just for pancakes any more!

Yeah, that one cut fucked me UP the first time I hear d it back in the day. For real. It could well be argued that everything that Shepp plays is "for effect", that he's as much or more of a dramatist than a "music for music's sake" kind of a guy . That's not a bad thing in and of itself, imo, and there have been quite a few times when Shepp's "dramas" have had more immediacy and/or "meaning" to me than have the "realities" of others.

Dude, just remember that you'll always be older tomorrow than you are today, so proceed accordingly and carpe diem!

Yes, it makes sense, and yes, you can tell the difference, although not necessarily automatically. Anything "artificially" raised by that amount (a half-step is a pretty significant degree, actually) is going to sound and feel different just because you're compressing real-time events into a smaller actual space. Think about it in visual terms, like if a 30 minute block of TV programming was compressed into 25 minutes (or whatever the mathematical equivalent would be. Everything would move faster, the voices would sound higher and speak faster, everything. Same thing with increasing tape speed. It's not just the tempo and the that gets changed, it's everything. Nowadays, with digital, I don't know what all you can do. Digital manipulation is a whole 'nother world. Digital pretty much rules out (or is in the process of ruling out) "impossible". But analog, like we're talking about here, yeah. And it's not really an "inaccuracy". Everything still remains as accurate (or inaccurate) to everything else within/relative to itself, at least as long as you're dealing with the master. When you get into Beatles type stuff, like on "Strawberry Fields Forever" where they combined takes that were recorded in different keys and then altered the speed/pitch to combine them, then, yeah, there might well be clashes (at least from a "technical" sense. Esthetically is something else again, right?). But the Domino stuff, they didn't make the records like that, to put it mildly. An interesting sidelight, perhaps (and a definite coincidence of New Orleans-isity). When I was a kid, I used to be able to pick up WNOE AM, a big Top 40 station out of New Orleans, after the sun went down and the airwaves opened up. That station would quite often speed their turntable up by at least a half-step, and when you lived on Top 40 24/7 like I did back in the day, hell yeah you could notice the difference. Their shit sounded FUNNY! I could only take it for so long, ya' know? I figured they did this so they could play more records and sell more commercial time, like yeah ok, we can give you five records between commercials instead of four and do it in such a way that we can sell an extra 30 or 60 second slot per 15 minute block, kinda like a win-win for them, and if nobody was paying close enough attention to tell that it sounded like their radio had just inhaled a little bit of helium, hey, no problem, right? Equally interesting to me in terms of "studio as instrument" is how Brain Wilson put together "Good Vibrations" from sessions in three (maybe four?) different studio because each different room and each different board had it's own sound, and by god, he wanted those differences, it was a form of orchestration. And by god, yes, you CAN hear it! Again, with digital, hey, no need for all that, but I dig it when people think about stuff like that, because, no, it doesn't always matter when you don't, but it always does when you do. Kinda one of those you-didn't-have-to-do-it-like-you-did-but-you-did-yes-you-did-and-I-thank-you kind of things. I love it when that happens, especially in pop music, because sometimes that's all that pop music has to offer you, it being pop music an all. But it's enough of an enough when it does. Just anybody thinking about anything is nice, if you know what I mean.

Walter Johnson doing play-by-play: http://www.theatlantic.com/entertainment/archive/2013/04/when-baseball-was-a-whole-different-ballgame/274541/ A whole day of WJSV 9-21-39: http://archive.org/details/OTRR_WJSV_Complete_Day_Singles

Numerous times n TV, and once in person, yeah. Took my son to see it, just so he could tell his kids that he got to see Nolan Ryan pitch. And Nolan pitched a damn good game that night, against the As. Nolan didn't finish it, but he won it. We sat up high, but behind home plate. So the kick was in front of us on every pitch. I strongly recommend taking kids to see legends play. Or just taking them to a game period. But especially if there's legends involved. It'll be a story forever for them, and I do believe in leaving your kids with some stories to tell, some good ones, and some fun ones and some funny ones. You want them to smile and laugh when they think about you when they're gone (or you're really gone). And really, what better place to laugh and have fun than at a game?

That was a very entertaining game, the one which the Rangers played to made it back to .500. They'd not had a losing record since sometime early in 2010, I heard. It's been fun. But for that other thing, Kenny Rogers is still the man, and in 1994. Mark Holtz was still alive (and on the radio). Guess I should break out the VCR and watch it one day/night. And get the thing oiled up good for the next one...someday...

What on earth is "authintaitonship"? Like provenance of authenticity only more questionable as to it being reality-based rather than bad dream-based, like getting blown out 8-2 by the Astros. Although I must admit, I did feel good for the Astros. But just this once, ok?

Looks like Charlie Hunter is in touch with modern America...

Finally, an Elvis I can grow old with and feel good about. http://texas.rangers.mlb.com/news/article.jsp?ymd=20130401&content_id=43605874&vkey=news_tex&c_id=tex

Since the thread commences up to begin after the game has past worn down, can the results of the nite's cage be examined for authintaitonship for the commissioner's office?

I got mine for a lot less than that, a few decades ago, but yeah, I think it's that good, as does the marketplace, apparently, at least to some extent. My buddy Lyles, who used to run with Clifford a few minutes back in the day swears that this is Jordan's self-proclaimed own favorite album. I can see why, too. Is it really that hard to find? That's unfortunate. But yes, spend the money even if you only almost can spare it. It is that unique and special of an album. http://www.youtube.com/watch?v=zS0FQE3J7v0