JSngry

</h1> http://milesdavisonline.com/photos/miles-davis-at-the-18th-pct-1970/

Dis anybody tell Verlander that the World Series, unlike the All Star game, is not an exhibition game?

Here they are again! and again!

Was that the Savoy house curtain? Seems like they turned up a lot...

Reading these two posts triggered a yawn here. Seriously. Typing this response triggered another one. Seriously! Yawns are, like, weird and stuff.

Nucky Thompson Nucky Jounson Joe Nuxhall

Even at that, was the whole of Coincide ever put out on American CD?

So is eBay, as long as things don't get too crazy. But it's always good to have a Plan B. always!

Thanks for all the info!

Here we go: http://imbibemagazine.com/Bourbon-French-Toast-Recipe

Interesting...would you happen to know if this is previously unreleased material and/or what the original label was? Oscar Dennard and Idrees Sulieman...wow!

If you drink, don't drive (unless you have keyless ignition?).

Seriously - has anybody made French Toast with bourbon in the batter? The more I think about it, the better it sounds...

Hall Overton Lee Underwood Middy Middleton

Maybe if it's canned music...

The Goodbye Girl Hello Kitty T.H.E. Cat

Nostalgic elegance is not necessarily the first thing I look for in a bourbon...and if it was, I'd think that 2-3 shots of damn near anything would do the trick, if you know what I mean. OTOH, the subject matter of this thread now has me wondering - does bourbon make for a good French Toast batter? I could see that working really well.

Oh baby oh baby oh baby.

The version of "Sonny's Back" on that LP is really cool. As the years progress, I find I actually like that side of the album more than the sidelong orchestra piece. This.

The All-Seeing Eye Cyclops Cy Coleman

If you build it, they will pass out.

As per his usual, Jones/Baraka is good about the music as far as he goes. He just doesn't go far enough in too many cases, and this is one of them. No "jazz critic" that I've ever read acknowledges (or even seems to be aware of) the strong influence of Oliver's "classical" saxophone studies on parts of his jazz playing. That thing he gets into with the harder-edge-removed tone, legato lines, even, highly controlled vibrato, and exactness of timbre in even the widest interval leaps, that's all coming from straight "legit" studies. Unambiguously so, if you've ever spent any time in that world (willingly or otherwise...). His "Patterns For Improvisation" book has been used by more than a few such players over the years, and not to garner improvisational skills. Oliver Nelson fit no one "bag" with any significant deal of comfort. No matter at what table he was sitting, even the uber-commercial ones, he always brought something "else" to it. I think Jones/Baraka mentioned something along those lines in another essay, something about Oliver Nelson bringing the sounds of blackness to the Land Of The Marlboro Man, or something like that.

Leisurely working my way through with Wayne Shorter's various recorded appearances, which has led to some delightfully surprising back/side roads.