JSngry

You gotta remember that until he signed w/Verve, Joe was very much a "cult figure", a "musicians' musician" as far as the general jazz public was concerned. Brecker was a "big name" long before Joe even got to be a whisper in the larger game.

I always thought so too, but I keep hearing stories about some singer who has serious challenges counting bars. Used to be the butt of some "inside" jokes on the old Carson show from time to time, + stories thru the grapevine. It might not be Buddy Greco, but I'm thinking that it is? Help? Anybody?

But isn't he the guy who was infamous as a singer for not being able to count bars, resulting in some really "interesting" phrasings on live gigs? Or is that somebody else?

Bootleg like a mo, and not anybody's "best" work. But still fun! The one to look for is an Elvin trio side on Enja - a trio side w/George & Wilbur Little (+ Hannibal on one cut). There's a loooooooong version of "Laura", where the song's natural harmonic construction & the player's (Coleman's) natural affinity towards dissecting changes are as blissfully happy together as Lucy & Desi before things went bad.

"happy ending" is a phrase that has long had many implications....

Or one of them, anyways,,, http://www.momlogic.com/2008/07/is_a_happy_ending_cheating.php

The Chet Baker dates mentioned earlier are pretty groovy, but I really dig his work with Elvin, just because that's where he can unabashedly indulge his propensity for "musical mathematics". I'd not necessarily call them his most "musical" by my standards, but then again, maybe so by his. No matter, it's just good playing, period. Ironically, though, I don't dig his duets w/Tete M. so much. Too much math there for me. but with Elvin...hell,"with Elvin", that really says it all right there, eh?

I love 'em all. But MIE is my favorite. Then I am in rare but superb company!

Man, I thought you were kidding, but... http://www.benefityear.com/sl/Players/Billy-Taylor

Yeah, same here. I'm in the (apparent) minority who prefers Miles In Europe to the Four & More/My Funny Valentine set.

Rosemary Clooney, although not "undermined" in any way, was not pleased with Miller's choice of material for her either. I think it was Ralph J. Gleason who claimed that Miller told Clooney to sing "Come On-a My House" "like you want to get laid." Although I appreciate the sentiment, I more than understand how it would grate on Clooney...

My sentiments exactly. The guy was really, really into scales & extrapolating patterns from them, but beofer he got into that, he had a nice singing, bluesy lyricism which always underpinned his later developments & differentiated him from a lot of his peers (and followers) in a most pleasant manner. I once learned his solo on "All Of You" from Miles In Europe to get a taste of what he was really into, and it was a very rewarding study. The logic behind what he did became quite apparent then. That such a consummate saxophonist is now struggling to play is indeed sad. People like that live to play, and...it's gotta be tough now for him, that's all.

Ok, then, benefit of the doubt- intent was innocuous and honest enough. "Tone" however, was kinda weird...kinda came across as confrontational, an intended smackdown, not as a friendly desire to correct the record. I still don't see what the hell difference it makes in the "real world", but that's true about 97% of the stuff that gets discussed here, so, whatever. If we can move on, let's. But btw - it's Art Ensemble of Chicago, not Chicago Art Ensemble. I believe the latter name might have been used originally, but by the time the recordings started been released, it had changed. Just to let you know. My work is done here, then. No, there's that Herbie/Tristano thread now... Nice try, though. Almost worked!

Either way, it's proof that Herbie's "prime influence"was a white guy. The list continues! Sarcasm aside... it's a flat-out ridiculous statement to make that Herbie's prime influence was Lennie. Just as ridiculous as it is to claim that there was no influence there whatsoever. Sure, it's a Bach thing, but Wayne had that Warne thing at times, so I'd not be surprised but that Miles himsel pulled their coattails on Lennie at some point. Besides, Lennie was never on Letterman, and the databases show that both Mile and Herbie were. So ther you have it.

Dale I can explain - he's a long-time friend, a fine pianist who back in the 70s published Texas Jazz Monthly, a superb-on-a-shoestring repository of intersting interviews with a lot of now-dead Texas jazz figures along with the usual record reviews & club reports. We see each other on gigs from time to time, and I've mentioned this board to him more than once as a place to talk about jazz & other things. So that explains that, at least to me. The guy's had a standing invite, and he finally came in the house. The other guy, all I know for sure is that he keep a Letterman database, & has a CD for sale on CD Baby that's described as "Melodic pop-rock in a progressive mode, with tastefully fluid guitars, multilayered vocals, and intricate arrangements". What brought him here, I haven't a clue. Maybe he Googles "Letterman" in his spare time to add to his database. I honestly don't know.

We need somebody with a database.

Uh....the word under contention was "prime", not "influence".

Naw, then he would've cataloged Letterman's old magazine interviews too. There it is.

33.02

Maybe he's got 13 inches of Stewart Lee?

Great comedy is rooted in tragedy.

http://www.cdbaby.com/cd/lathropgiller

Just to avoid any possible misunderstandin, Pi is the label. There's three Threadgill albums on the label, one quite recent, and all excellent.

Other than somebody who keeps a David Letterman database? Don't know, and, by now, don't care.

Legit? http://www.dustygroove.com/item.php?id=ntn454ng2t&ref=index.php