JSngry

FWIW, Lou's been "salty" longer than just recently...I got a buddy who recounts hearing him say that "Wayne Shorter never could play no changes" back in the very early 1980s. Love him or not (I tend to love him, but in spite of himself more than because), the guy doesn't shy away from saying stupid stuff!

Y'all hear about Dylan proposing that he lend his voice to somebody's GPS?

I've seen both through the years, mostly S, but Z has not been unheard of either. I thnk that PREZ is a phonetic representation of how PRES is usually enunciated.

Ever heard of Norman Granz?

Fred Jackeon/Baby Face Willette/Face To Face - no matter how much merr you come to know, you'll never know more about this than this.

I just ordered it (through the oBoARD link) Thanksing you for the tip.

Gee, I sure hope Robert Stigwood gets involved!

Never seen that cover before...Japanese CD, apparently...just checked my LP & apprently this was a Japanese-produced session. Never looked at that before! So this might be the original cover? Here's a better representation: Who knew?

I hope they do 2-on1-s for the new Reprise CDs, because most of those ablums clock in well under 40 minutes, some barely make 30. In these days and at those prices...

Them Wrecking Crew guys changed America forever. The country, not the band...

Impeccable, imo.

No doubt. I'm just talking strictly in terms of tone... I can't imagine playing with that exact tone in a Goodman or Dorsey band of the vintage that he did (1940s-ealy 1950s, right?)...which is why I'd like to hear his story, how/when/why/etc he got from Point 1940s Section Player Tone to the tone he wielded so effortlessly there. It does strike me as a quite personal thing, actually, and I bet it's one of those "tales" of which there are probably thousands, each subtly but surely unique, but only a few end up really getting heard.

Agreed. Definitely not Sam Taylor...and Gank Mobley would not have been such a good choice. But Fathead? Hmmmmm...that would've been sweet! Still, for a Buddy Holly record (not a BIG fan of the Lubbockian myself, obvious endsuring contributions & influences not withstanding...), not too shabby,and it definitely creates its own zone, which is about as high an accomplishment as you can have in that type gig.

But imagine if Hank Mobley would have had that solo. A world where Hank Mobley plays on an Eddie Gorme record in 1963 would ahve been a different world than the one that was. Absurd, you say? Well then, imagine Eydie Gorme on Dippin' and tell me which story has the happier ending!

And he had that much of a "west coast" sound there too? Wow... I say "west coast" because the "east coast" brothers (other than Getz, at times) tended to have a little broader sound, each to varying degrees. This guy's into Dave Pell territory, tonewise, which is not necessarily a bad thing, because as you note, that solo has a really sweet organic logic/flow to it, and the tone is part and parcel of the whole story.

Maybe the difference between being all you can be and trying to be something you're not is saying (or not saying) "no" at the right time.

What other Richman have you heard, Larry?

Only sometimes...

Interesting...I bet that's not how he played in the sections back in the day, but here he is 20 years later all "cool". I bet he had some stories to tell!

I've heard of him, actually. Is this just a hunch or do you know this? Interesting, the career path of a lot of the Big Band section players...they keep turning up, don't they?