JSngry

The guy in the tuxedo - guess who? Hint - the remembrance of the name was triggered by a comment in GA's post above this one!

Does Pabst own Schlitz now? I only ask because Old Milwaukee used to be Schlitz's "bargain" beer back when Schlitz was riding high. Last I heard, Schlitz was bought by Stroh's. Where are they all now?

Pretty sure that the way these things usually work is that the project gets the most exposure, then the awareness that the music exists, then...not too much more as far as actually expanding audiences past the immediate project.

Within the last 10 years, I think.

Wow, I swear those weren't there last time I looked. Glad to see them back!

Free Carpet For The Masses Motivated Hamilton's Slam! http://www.star-telegram.com/2011/09/14/3368753/hamilton-hr-lifts-rangers-grand.html

One thing, please - Pres never sounded "like an alto". His "light" tone was actually the result of a darkening of his sounds' upper partials, as well as sending a "wider" air-column (best way I can describe it) through the horn (but still supporting it fully, that tone of Pres' ain't gonna get swallowed up by anything).. If anything, his tone was less like an alto, although if the only real point of reference was Hawk (or the beloved Bud Freeman), then they wouldn't yet have the baseline to figure that out. But even in his early days, Pres's tone was always "darker" than Hawk & Co., because of the de-emphasis of the upper partials of his sound, which is a fundamentally different thing than upper register of the horn. Hell, you could say that it was Hawkins & Co. who were more "alto-like" in that regard! Whitby, it sounds like to me, has as bright a tone as the norm of the time, but not as "full". This is probably the result of using a setup that still emphasizes the upper partials in the tone, but using a less dense airstream. As I've said before, it sounds to me as if his embouchure and concept of airstream is rooted in clarinet playing, but maybe not. Tone is one of those things that stir a wide variety of emotional responses (just as many people think of Coltrane's tone as "dark as they do of it as "bright"), but the physics of how any given tone is achieved are pretty much objective.

Sorry, the lady was looking too good!

You be the Paladin.

Wellsir, I genuinely find almost all of Wynton's music to be one degree or another of insufferable, as well as feeling that he's done jazz a lot more harm than good over the last 30 years. And I, too, will always point this out when I see it. (well, almo0st always, because I don't have that much time or tolerance for bad music and/or counter-productive business measures). So it sounds like we can both be pointing out things for a good long while to come. I'm glad he got Tommy Turrentine a trumpet, though. Did he get him some gigs to go with it? Some doctor's appointments, too, maybe? That would have been extra nice!

Free carpet!!!! Well, not exactly, but, yeah. http://espn.go.com/d...flooring-payout </h2>

Terry Knight Doris Day Terry Melcher

Ok, I cheated, and I certainly should know the name, but...don't. I will say, though, that if you're into ladies who have not necessarily "aged well" (whatvever that means...), she's ain't really one of 'em!

Just found these http://www.sleevetown.com/multi-disc-cd-sleeves.shtml

WHOA! Just listen to the way the steel player handles the modualtion, isolate from 1:17 - 1:24...the guy defies gravity there for a split-second!

Well, I'm somebody who thinks that Herschel & Pres ultimately sounded more alike than different, so... I do hear the smoother eights, though, and that might well be a "Southwestern" thing. Different regions, different speech patterns, different topography (I was just thinking today on a short drive how flat, open, and horizontal things are here, even after urbanization, and how weird it would feel to live everyday compressed and vertical...nice place to visit, etc.), it all comes into play eventually.

From the sample Larry posted, it sounds a lot more clarinet-ish than most, in both tone & execution. Yes, but doesn't he barrel through and/or past the changes at times in a very melodic-linear Pres-like manner? I guess, but the only real "Lester-ism" I hear is in the first part of the second A-Section. Otherwise it sounds pretty much like a clarinet player playing a tenor solo. Which is not to say that it's not interesting (it is) or that he wasn't an influence on Pres (seems that he might have been). I just don't hear anything really "radical" there. If it would have been a clarinet instead of a tenor, I don't know that any eyebrows would have been raised. Although it maybe does raise again the issue of Pres and the clarinet, an issue which is often raised but never really settled, and may never be due to the lack of a coherent, linear body of evidence. Now, that Guy Kelley guy, he sounded to me like a just-learning-to-play Buddy Anderson in terms of vocabulary.

From the sample Larry posted, it sounds a lot more clarinet-ish than most, in both tone & execution.

Having a listen to this one now...good stuff, very positive energies at work.

Successfully multi-tasking is the new literacy. Not that there was anything wrong with the old literacy...

No idea which "what" that was (and also not sure how I took it "like a man"...maybe the Viagra photo's to blame?) , but if it was the one about "where's YOUR album?", the answer is that they're either in the garage, or at Lyles' house, probably in his garage. As far as I know, there's still plenty left of the first one, that's for sure. That's what happens when the pressing plant mistakes an order of 500 for an order of 1000 and doesn't charge you for their mistake. The second one might be gone, but that's what happens when you only print 100 or so copies and give about half of them away. Moral of the story - keep that garage ready!