JSngry

http://www.youtube.com/watch?v=D0tF8LxpAKA BAAAAAAAAAAADEST man ever? He's in the gene pool, that's for sure.

Mr. Dunmall playing "Mister Magic" with Mr. Watson in 1977: http://www.youtube.com/watch?v=MCBg0Yp4V6U

http://www.youtube.com/watch?v=jL0OWZTzwis Guitar solo starts at 3:30. Neither blues nor jazz, just Johnny Guitarwatson, a truly BAAAAAAD man!

If you have RealPlayer, here's one scene: http://www.cannonball-adderley.com/filmo/hymn2.ram The other can be viewed here: http://indianapublicmedia.org/nightlights/...-met-feliciano/ The first is my choice, but the Real format...not exactly wildly popular these days...

That aspect of Geller's career is anything but well-known in America.

Bye Bye Blues (studio) http://www.youtube.com/watch?v=knjk6dHQyzQ There's a certain...balance of ingredients to this that I find, if not exactly admirable, at least noteworthy.

Frosty The Snowman Albert Collins The Kalin Twins

Oh yeah, absolutely. That guy's charts sounded a lot simpler to play than they would be in terms of balance, blend, etc. No slouches allowed. And a lot of it had an underlying swing that people who couldn't swing just couldn't come up with. Great music and great musicianship only sometimes coincide. I'm just tripped out by the staging...

@ 3:15

Medley (1967) http://www.youtube.com/watch?v=HKdcMYRhUeA...ature=rec-HM-rn That Happy Feeling Medley (with jazz) http://www.youtube.com/watch?v=mOf4uNwvC6c A Swinging Safari (with more jazz) http://www.youtube.com/watch?v=BH4YyJUc54Y

No, "lee morgan" was the cat's wife's name...like Lee Meriwether

But it's ok, because we know what those butts mean to look like.

BTW - I like the way you used cursive on the word "read"! or maybe "italics," eh? Hey, it's ok, you know what I meant, and besides, when you post all day like I've been doing today, shit happens, ya' know? No worries! And that blink emoticon at the end, that's a nice touch!

Is it possible to get a scan of the photo in question uploaded here? I'm really curious about having a look at this photo! But when would a young Bill Evans ever have recorded with Carol Kaye?

BTW - I like the way you used cursive on the word "read"!

A) - I am reading the book. I actually bought it. With my own money! B) - I am not framing the criticism of the misuse of the word "solfeggio" in the context of the overall merit of the book. It is an issue quite separate from that. C) - Yeah yeah yeah, life is hard, writing is hard, shit happens, blah blah blah, I know. I write a bunch of piddly-ass bulletin board shit on here all the time that is fucked up in all kinds of ways, so the matter of scale is not lost on me. Not the point. D) - It's still a musical term used damn near totally incorrectly, and shit like this happens all the time in music writing directed at a non-musician audience. Whether or not that is "ok" depends on your POV. From mine, it's gonna happen, but needlessly, and it's just one more micro-imperfection adding to the overall fiber of the macro-inaccuracy of life. A lot of 'em I let slide because I just don't have the time, or because I just don't give a damn, or because I don't even know they're there. This is not one of those. E) - Call it a pet peeve. That's ok. But it's still a word used incorrectly, not even almost correctly. Sympathy won't change that, just as sympathy won't change a wrong note once it's been played. And yes, there are wrong notes. F) - Careless and unnecessary fuckups keep happening unless and until enough noise gets made to call attention to their carelessness, unnecessity, and fuckuppedness, after which, either enough excuses get made that they become institutionalized or else somebody says, "hey, why not fix this shit"? That's how you get to be a better musician, and that's how quality-of-life in general improves. G) - Take your stand and live with it. No excuses. H) - Next!

Hey.

It's not "slightly clumsy", it's fundamentally incorrect.

Imagine if somebody wrote a book about food which confused lemongrass with lemons. If I knew/cared about food at a certain level, that would leave a sour (no pun intended) taste in my mouth for the rest of the book, no matter how spot on it might otherwise have been. Guaranteeing proper use of craft-specific terminology is a simple sign of respect for that craft. I've lived in a time where the craft was respected while the art was overlooked, now sometimes I feel that it's the craft that is getting disrespected & the art glorified. Neither is a satisfactory dynamic as far as I'm concerned, becuase ultimately you can't have one without the other, not in a living, breathing world. I don't know about that $800.00 guy, but who was your real buddy? Bill Kirchner, that's who. Is that an actual career, being a reader for music books and stopping it before it gets started? If so, how much does the gig pay, and where do I go for an interview?

In his "Inside Be-Bop" ("Written by America's No.1 authority on Be-Bop" it says on the cover of the 1949 edition I found somewhere) Leonard Feather quotes Kenny Clark as saying Bud Powell "used to do all the things Monk wanted to do but couldn't. Bud had more technique; Monk was a teacher, a creator rather than a soloist." Feather was never exactly a Monk fan. And yet many more say that Bud was Monk's protege early on, that Bud dug the shit outta Monk & followed Monk around night & day. Bud was sui generis, as was Monk, as was Bird, as was Dizzy (when he let himself be). Attempts to place one over the other are just more "divide and conquer" tricksterisms.

What makes you think that the editor, if there even was one in the sense you mean (i.e. a text editor rather than an acquisitions editor; that kind of editor typically doesn't do more than glance at manuscripts), would have known the difference? In the case of my book -- a compilation of previously published pieces, with some new material -- Yale U. Press told me that they don't text edit such manuscripts in house, that if I wanted that kind of editing they would recommend some freelancers but that I'd have to pay him or her out of my own pocket! I took that route (cost was $800; my advance against royalties was $1,000) and am glad I did (he caught some errors and even said that he enjoyed reading the thing), but this text-editor knew little about jazz or music, so if I'd made a mistake in that area, he wouldn't have caught it. No doubt Kelley's situation was a bit different -- he speaks of a long gestation process and credits two editors, one of them as a "musician-editor" -- but, I'd be surprised if either one pored over the manuscript per se with pencil in hand. Yet further proof that it's A World Gone Wrong.

The quality of the recordings kinda hides it, but his touch &underlying "pulse" are both there from the git-go. also keep in mind that earlier issues of the Christian/Gillespie/Monk matreial didn't note that Monk (or Diz) was only on a few cuts, the rest being Kenny Kersey, iirc. Other Jerry Newman-sourced sessions on Onyx were more carefully documented.

Not a big deal, but still, blatant bullshit that didn't have to happen. Why didn't the editor just step in and say "dude.....no"? Just do your job and make it not happen. Call me Kitty Kallen if you like, but little things mean a lot.