JSngry

http://www.zazzle.com/silly_41st_birthday_...258855729434420

Judge for yourself: http://www.youtube.com/watch?v=Sur6asnkiso It's about like what you'd expect it to be, so proceed accordingly... I mean, they do what they do about as good as it can be done, so if you like what they do, then yeah, check 'em out. Me. I respect it a helluva lot more than I actually like it, at least after one or two songs, but that's just me. As for those who would dismiss out of hand, all I can say is that it's not as easy as you might want to think. Don't make it "good", but it don't mean it sucks either. Would that it was all done this well.

and with Sarah Vaughn, as did, interestingly enough, Chick Corea.

As well as trumpet w/Willis Jackson!

More detail here: http://www.rockabilly.nl/references/messag...le_robinson.htm Resist any temptation about ordering that Rev-O-La set unless a whole CD's worth of basic boogie-woogie (mostly - all? - in the same key) about what a drag/joy it is to be a kid. Great story, no so great records...maybe Capitol's fault? But there's a clip or two on YouTube (or was) of him from a few years ago that is not bad at all. So, happy ending.

K-4 Pacific might be easier to find (and more fun to listen to!)...

Say, Mama...

I'd second that. An essential 60s Mobley session - although it does seem to have its fair number of detractors. And I'll third it.

Are we saying, then, that the "jazz tradition" of which Michael Jackson's music was not a part, is not a part of the African-American popular music tradition, of which Michael Jackson's music surely was a part, or that the "jazz tradition" & the African-American popular music tradition only sometimes intersect? I guess how you look at that issue (and I take no strong stance either way, since there are no easy answers, perhaps not even any answers, at least not final ones...), might factor into how one looks at the issue of, say, Miles covering something like "Human Nature" in the way that he did it - which to me speaks to Miles positioning himself, in this instance, in the continuum of the "jazz tradition" & the African-American popular music tradition intersecting, or more to the point, not necessarily being all that much different.

Just wondering...if Miles had wanted to copy the "original record" of "All Of You" or "Blackbird"....what would he have used? Ahmad Jamal Nicely put!

This one? http://cgi.ebay.it/ALBERT-AMMONS-BOOGiE-WO...bayphotohosting

Rahsaan - "Never Can Say Goodbye"

Just wondering...if Miles had wanted to copy the "original record" of "All Of You" or "Blackbird"....what would he have used?

I find Morganna King in general to be laughable, never could see the attraction there, but that's just me.

Werewolves of London The Birdman of Alcatraz The San Diego Chicken

At least Ladies Night had "Too Hot"...a really nice tune/record/whatever... one could easily do a jazz version of that one, good changes...after that...not much... I freakin' HATE "Celebration", more now than then, and I loathed it then... What's the over/under on how many times that one or more parts of "Summer Madness" have been sampled?

But that's only two!

Funny, I was tempted to name both of those tunes in my previous post, even though I haven't listened to any Miles recorded after, say, 1973. It's amazing how I can't remember to pay bills, but I can remember which 80s pop tunes Miles covered. A mind is a terrible thing to waste. It's always so embarrassing when jazz guys - in the post-rock era, at least - incorporate pop/rock tunes into their repertoire. They invariably grab for things that make a big commercial splash, but they fail to find the good things lurking beneath the surface. All the jazz Radiohead jazz covers are a prime example. It tends to expose the practice for what it is: a blatant attempt to appear relevant, even though it reveals that the jazz guys are not really aware of (or interested in) the more creative things going on under the surface of pop music. Again, I have no problems with how Miles handled those tunes, especially how he evolved them over time in live performance. If anything, he brought out the music in them, not the "pop", their substance, not their splash. Miles was the exception to the rule, no doubt, but still...

Brubeck was raised Presbyterian (his mom was a Christian Scientist) & then converted to Catholicism later in life...

"Human Nature" was a staple of Miles' latter-day repertoire, as was "Time After Time" (not a Jackson tune, obviously). I got no problems with what he did with either of them. They're both at least as solid in "song" terms as, say, "Bye Bye Blackbird".

Timmy Thomas William DeVaughn Billy De Wolfe

Nik Venet Doris Day Bobby Flay