JSngry

James Joyce D.H. Lawrence Henry Miller

Having heard Basie & Woody & a lot of other "real" (i.e. - with their original leaders and with constant, ongoing, road itineraries in place) big bands live, and often enough in full throttle, trust me -an "idea" is all you're getting, and not all that good a one at that.

Either way, jazz has a future, be it as a repertory music or as a truly "contemporary art". Me myself, my record collection pretty much takes care of my need for the former...but you know how that goes....others mileage cand and does vary, be it for personal, political, and/or business reasons.

Can't argue with any of that, but the sound sample on AMG sounded like your track. Just goes to show that 60 seconds don't always tell the whole story...

I'll give you $10.00 if it's not clean but not totally trashed.

Joshua Breakstone: http://www.allmusic.com/cg/amg.dll?p=amg&sql=33:jn5qxmq0ldae

That's a strong selling point for me. "Acquits himself well", does he?

Yeah, long tones will turn you more into what you want to be than anything I can think of. Physically, it's essential to do this, and mentally, it gets really Zen if you do it right, seeing how long and slow and completely you can taper a note louder and then softer (and how soft is soft? You'll be surprised!). Doing long tones, you really get to feel each note, and you become really conscious of just what it is you are doing by playing the instrument - you are moving air - your air - to turn it into something that did not exist before, creating, not just esthetically but literally. After a while, it becomes apparent ( ok, might become apparent, gotta remember where we are here, no "absolute opinions" allowed...) that "making the changes" is just part of the game, the easy part, really, in some ways. It's the sound that can get you into the mystical/scientific/whatever realm. Vibrations, pure vibrations. Everything else spins from that. Everything. Yeah - do them long tones. Absolutely and always.

Gary Player was right. Palladin's talking to Calamity Jane, who is distraught be/c her manager dumped her and put a younger chick onstage with the same name. CJ pulls out one of her pulp stories & says something like "These are all my stories. I lived 'em all. MY stories!!!" To which Palladin replies, "Ah yes, I remember that one...I had to translate it to Latin because it made so little sense in English." And oh by the way, Lisa Lu as Hey Girl had the sexiest eyes I've ever seen on any woman, ever, period, game over, no contest. But that was just for one season. The other five are equally badass without her. But hey....whoa!, that's all I'm sayin'.

Jack McDavid Jack McDuff Jack McKeon

So Sal's on it, eh? I mean, playing-wise...obviously he's on the CD...

William Tell The Lone Ranger A Loan Shark

Ida Lupino directed several episodes of the show...supposedly Boone was the instigator/encourager for her pursuing TV direction.

Bent Fabric James Cotton Silky Slabberwocky

Still watching the Encore Westerns airings, & among the many delights is the recurring presence of Hank Patterson in a variety of roles. I only knew him as Fred Ziffel, which only goes to show you how little I know...the guy's voice alone was a treasure! Also just got to see the "Genesis" episode, the first show of the last season where the explain how Palladin became who he became....Richard Boone in a double role...the Smoke character he plays....they actually got stuff this good on prime time?

I've heard Mulligan's "classic" stuff referred to as "Bopsieland".

Red Green Freddie Green Freddie Roach

People take a record of a club date and think that everybody showed up all....ready to record and shit, like they practiced all day just to get ready & then people listen to that record and think that it's some Great Document that must be recieved as The Way It Was All The time, Every Night. Nah. Hank was s junkie, Wynton a juicer, PC,maybe both...you know, you live that life, some nights will be better than others (that's true even if you don't live that life, gut the more variables you throw in....), and what gets recorded gets recorded. Like I said earlier, Hank @ Carnegie hall is clicking pretty damn nicely for my tastes, and surely that wasn't the only night. Hank @ Blackhawk was a little "distracted" the way I hear it, and surely that wasn't the only night, either. As for Mobley v Coleman....George had the harmonic and rhythmic sub-divisional skills to go with the new rhythm section's moves. Hank didn't, which means nothing other than that Hank didn't. Hank had his own thing, kept it, honed it, pared it down, made it ultra-personal, and...it was not going to be too much of anything with where HerbieRonAndTony Inc were even thinking about going. Tony wanted his Boston Buddy Sam in, so he wasn't happy. Herbie later expressed reservations about George playing licks out of exercise book, which is what both what gave him the skills and ultimately made him dispensable, but as a "stylistic" transitional figure, Coleman was well-equipped to go through the first few doors that were being opened in a way that Hank wasn't, probably didn't want to be, and definitely didn't need to be.

Mobley @ Carnegie Hall is more on it than Mobley @ Blackhawk.

Perfect music.

Matt Monro Lou Boudreau Jackie Gleason, and away we go!

http://www.youtube.com/watch?v=A6ogRiaWXaU

You know, eve if you're playing with a soft sound or whatever, you still need to get the sound all the way out of the horn and into the air. Tenor player sounds like he's leaving some of his sir/sound inside the horn. Use your diaphragm better & you can still have the tone you want without the awkward "stuffy" sound. BEsides, your fingers move better when your air is flowing properly, for reasons both mental & physical.