JSngry

Thank god I've not yet gotten jaded by flying 18-wheelers.

Hank's quite the courteous & genial MC, Hank is. That's just icing on the cake! The rhythm section sounds a little immature/ploddy, though, so that's crumbs on the floor. Still damn good cake, never the nonetheless.

In Chicago, yeah, sure. That's where Herbie was from, and that's Dr, Hartley worked, so..yeah hip elevator music there, fersure. But the rest of us? We weren't so lucky. And that Robert Budson...geez...you were just wrong, but he's ALL kinds of wrong!

Came in today's mail, this Headline from Hankadelphia, the thriving Hankatropolis deep in the heart of Mobleyonia, America's answer to Freddie Martin. Hank is swinging.

Anything about Pops Poopadeaux.

You said this in 1968? Yes -- "anticipates" as in "anticipates what I think the Muzak of the 1970s will be like." Here's what the Muzak of the 1970s ended up sounding like: http://www.youtube.com/watch?v=FiyUbjEuOc4

The trombone player? He's dead, alas.

You said this in 1968?

She cites Jimmy Scott as her primary influence, so keep that in mind.

That's a word used to describe what is more commonly known as the bridge. I think Monk might have used it too. I've heard it a few times over the years, but not too many.

It's the guys that are always enthusiastic (or objective, or...always anything, really) that I don't trust.They're just writing to be writing (or to get free CDs).

I don't get post #52.

That would be make sense if true. And still interesting if not true! Thad's another one of those guys, as is Oliver Nelson, whose inner voicings often are not for the faint of heart!

Nor I it.

Have you gotten to TLC yet? That's the one for me! Some of Billy May's best (or at least least-self-referential) writing, in m o. And Nancy is less mannered than usual (I like here ok when she's mannered, but like her even more when she's not).

I'm not fluent in either language, so I defer to you on that.

That album was meant as a "writer's" album above anything else. For me, having Herbie as the only soloist works towards that end quite nicely, another entry into the "featured soloist with orchestral backing", only in this case the orchestra consists of three horns, although voiced in such a way that the textures and harmonies suggest at least a few more being present. It's certainly not a "visceral" album by any means, and the Rudy/Duke Pearson engineering/production team gauze up the sound a lot, but damn, that's some gorgeous , subtle, meaty writing on that album. And, as you say, some excellent playing by the composer as well. I hear ya' on that one, but otoh, do any of us raise our children with the goal of destroying their innocence as quickly as possible? Listen to the two horns that are not playing the lead line...some pretty interesting note choices & spacing of intervals there. Like I said, Rudy & Duke gauzed this one up pretty heavily, but the music itself is not without some bite.

Some day...

In English or in Portuguese?

You were wrong!

da da da dada da da daaa da da da da da da da da da da dada da da daaa da da da da da da da da da da dada da da daaa da da da da da da da da da da dada da da daaa da da da da da da da doobie doobie doobie doobie doobie doobie doobie doobie doo-bie badoobie doo-bie doobie doobie doobie doobie doobie doobie doobie doobie doo-bie badoobie doo-bie da da da dada da da daaa da da da da da da da da da da dada da da daaa da da da da da da da da da da dada da da daaa da da da da da da da da da da dada da da daaa da da da da da da da

That tends to happen to me as well, no matter who's doing the song. But that's a part of Garrett's thing I've noticed less and less of as time passes, that "soul singer" thing in his playing...it's still there, but I always like it when he indulged it, because he souned so moving when he did. I wonder does he still live in New York?