JSngry

What's on the Coco Channel this weekend, anyway?

I thought that Porgy & Bess was an opera.

Oh, THIS guy! Interesting story: The guy in that video looked and played like he had been thru some changes and was still going thru some. That solo cracks me up, how he tries to play a "nice" solo, makes it for 4 bars, that kinda chokes on the idea and just says FUCK IT, I mean, we've all been there, with or without the monkey...so go aHEAD bro, you're entitled! Two more things - nice chart on that first tune, and Kenton looks and sounds pretty damn drunk. But Sue Rainey does a nice job, considering the tune. I guess those type of post-Porter list songs were quite the rage for a while. But she phrases nicely nevertheless.

Who is/was Buddy Arnold?

The DJ? Seriously - has anybody taken note that the person who posted this list was Famodou Don Moye?

Yeah, exactly. I hear ya. It was kind of a serendipitous find, this one. I'd really like to find out who it was.

Musically or physically?

Actually yeah, becuase I still think it's way cool for player, especially iconic players, to go start-to-finish with the same team, even if that team is the Wall Street Yankees! But seriously, yeah, I remember how weird/sad/wrong it was with Mays as a Met, Aaron as a Brewer, etc. Put the management's money where it's mouth has been all these years about "true Yankee" and all that crap. Otherwise the already transparent hype just sickens as it thickens. Give the guy his money with the understanding that this is it, no more. But give the guy his money.

An album title like that gets a cover like this? Uhhhhh...

DL-ing MP3s of a song has taken the place of buying 45s, which is something I've always used to enjoy.

FLAC

The guy was a hoot. Much love here.

Another unlikely (from both ends) but "interesting" scenario of the type only possible in the Hot Stove League...given Jeter's Michigan roots & the Tigers' apparently big budget...Jeter - Back To The Roots... Yeah, I know, baseball ain't the music biz. But old habits die hard.

Just wondering. TIA!

My memory might be bad, but I think that Turney was functioning as the third trombonist? On 70th Birthday Concert, there's only two trombonists on the band instead of the usual three.

One For W.C. Chewy:

Oh, '51 Fool vs '57...I'll take '57 every time. The earlier version is a bunch of raw, exposed nerves to be sure, and there's a certain visceral thrill there, but the later verison is more like, "Damn! Been there done that, done it again and again, STILL can't shake it off..." Less raw perhaps, but certainly more knowing and still just as trapped, which is even more, uh...disturbing.

Another way to look at it would be that singing "that way" was something Sinatra wanted to do as part of his musical identity (I think the ongoing relationship w/Jenkins pretty much confirms that) & that he needed arrangements with Jenkins' bulk to support him when he did. The Jenkins arrangements rarely featured prominent rhythm sections, which left a lot of room for Sinatra to expand and contract his time in an almost rubato fashion. In a very real sense, he was floating, and no human can truly float w/o an adequate cusion underneath. Jenkin's strings served that function, and I'm very thankful that either Sinatra or somebody - perhaps Jenkins himself - kept him from writing like he did for Nat Cole, where there was virtually no limit to the acreage... I understand that a lot of people don't like strings in general, and Jenkins was string overdrive for sure, even if you do like strings (or at least do not object to them in principle). But it's one thing to just not strings, or to just not like a lot of strings, another to think that Sinatra wasn't going there because he wanted to. He obviously did, hell he used Jenkins longer than he did wither Riddle or May ("Thanks For The Memories" on She Shot Me Down is another example of Jenkins just outright nailing it). When an artist for whom I have the highest regards continues to make the same choice over time, I tend to think that there's something going on there that they "get" that maybe I don't. Sinatra's use of Jenkins has been exactly such an experience for me. Riddle I got right off the bat, May pretty quickly, but Jenkins...that one took a little while longer, and it involved getting over my aural profiling of all "lush" string writing being the same. It's not. Also enjoying the conversation! Not least of all because I've pretty much done a 180 on Jenkins over time, although not Jenkins "in general" nearly as much as being able to discern "intent" with perhaps more...age, and also finally hearing the differences between/within his writing. Nothing negative here has been said in this discussion that I've not felt myself at one point or another, I assure you!

Oh Jenkins frequently goes over the top, imo. Just not always. That's all I'm saying, and it is just my opinion. As for the song itself...I don't know that it's one of those (if ther are any) that are good no matter what, for sure. But the Sinatra/Jenkins tandem puts it where it needs to be. Again, just my opinion, and mileages can and should differ wildly on that one. As for Jenkins vs Riddle...on ballads, Riddle could do "melancholy" better than anybody, & Jenkins could do "sentiment" better than anybody. In the case of "It Was A Very Good Year", the song's built-in/obvious "melancholy" is balanced by Jenkins "sentiment" to create a "poignancy" that might not exist if either mood was played to at the expense of the other. And don't forget the 1957 Capitol "I'm A Fool To Want You", on which Sinatra goes to a place that only Jenkins could stand up to. http://www.youtube.com/watch?v=YFq6c855E5w Compare this to the much more celebrated Columbia version of 1951, which for my taste goes overboard with the vocal group and solo violin obligatto: http://www.youtube.com/watch?v=fEQm--gWvfA Win, Jenkins, not even close. Again, he nails it. Of course, this is all opinion, but all I'm really arguing for is a consideration of the variety found within Jenkins' admittedly rather narrow general palate, which is definitely more than Friedwald (or Jenkins' most dismissive detractors in general) seem to want to allow for.

Don't know what it's like out there, but here, the NBA & NFL are already there, based on ticket price/per game. Granted, fewer games per season, but still...

Harry "The Hat" Walker Dixie Walker Bobby Bragan

Seriously -the "future performance" thing is very much how labor gets paid. Less so management, where a promotion is often seen as a reward for past performance. The Yankees & Jeter should be talking about how much Jeter has meant to the franchise, and what Derek can look forward to in his life after baseball that allows him to still represent the franchise with his and their luster intact.

Sorry, I was thinking of Francis Faye. Really. Francis Wayne was fine. My bad, big time. Now, back to the topic:

Tommy Potter, iirc.