JSngry

I really like the side w/Jackie McLean.

Ok, this would have been the later-1970s I'm talking about. Doesn't seem that long ago... Oh,btw - Mark Van Sickle was a lead trumpeter, came out of NT.

I'm only now beginning to realize the brilliance of Buddy Ebsen, Irene Ryan, Nancy Culp, & Raymond Bailey in their roles on this show. Talk about walking a tightrope between surrealism & buffonery!

In a typical Billy Harper composition, the rhythm & and the changes are basically the same thing. Same is true for many Charles Tolliver pieces, but Billy's writing is...in a class by himself imo. Thing is, this is a very "populist" (or "popular" if you like, but...) approach to jazz composition, putting the harmony and the rhythm so snugly in bed together. Hell, that's what "Louie Louie" does! It creates a dance groove that a lot of other post-Trane "non-free" jazz just doesn't get too, or even act like it wants to get to. I've seen people dance to some of Billy's shit, in the streets NYC and in a museum garden in Dallas! I wasn't alive for Trane, but the stories of people getting tranced put and moving around in some "dance"-like fashion are out there from those who were. So I'm not so sure that "modailty" per se is a "problem, so much as is the unwillingness or inability or lack of awareness or whatever to grasp that in vernacular american musics, the bottom is still where it's at, not the top. The "jazz eight note" has evolved, continues to evolve (hell, in its latest incarnation, it appears to be an eight note triplet that's escaped from the grave of Warne Marsh....), but if it's not accompanied by a similar evolution of the underpinning, then that's when stuff goes off the track altogether. Shit's still gotta dance, and the best jazz has always danced, even the abstract. This is hardly a new theme for me, and I apologize to long-time readers of this froum and Board Krypton for continuing to bring it up. But dammit, look at Ornette's Tone Dialing (no longer "new" by any stretch of the imagination, damn how time flies...) - abstract like a MOTHER on top, but grooving like another mother on the bottom. And the end result is SWING. Not ching-chinga-choing Noun Swing, but heyIgottaMOVEtothisshitbecauseit'sgettinINTOme Verb Swing. And if you ask me, that's the way the bulk evolution needs to go if survival is to be maintained - evolve the bottom to keep it dancing in sync with the (non-industry-dictated) rhythms of the times. Keep the Verb Swing alive.

I used to blame the schools/techers/curriculum/etc, & I still don't hold them above reproach, but I've come to realize that the root of the prolem might weel be the students, who come to school expecting to be taught how to be a jazz musician instead of looking for a chance to become one themselves. When there's beaucoup buckage to be made by teaching standardization, hey, that money will be made. Complain all you want about cooki-cutter sounds and styles - bottom line is that this is what the kids come to schoool wanting to get taught. Just another sign that the commingling of social world(s) that created the great individuals of jazz no longer exists in any meaningful measure on any particularly unstoppable scale. Once anything reaches the stage where it can be codified and teached en masse, then it's no longer "of the now". Of course, this is all complicated by recordings, the ability to hear a bunch of things that are, like, 50 years old for the very first time and get the gut feeling that they're all happening RIGHT NOW, which is as it should be, becuase the meat of the music., its spirit, is eternal. But it's also a lie of sorts, becuase no, it's not 50 years ago, and yes, a buttload of stuff has happened since then, so the "now" of 50 yeas ago and the "now" of now can't possible be the same in any way except the abstract.

You may be right. Did you see/hear this? It's taken from a CD titled "Television's Greatest Hits", and it has a slightly different feel (don't think I ever heard this exact take). Yeah, but most of those are re-recordings, not original broadcast versions. I remeber when that CD came out. A lot pf people were disappointed. But there were some rights issues or something, jsut like you still cna't get the original Beverly Hillbillies theme.

Ok, this guy says the "photo" version of the opening was the original: http://www2.macleans.ca/2009/04/16/when-ba...od-theme-songs/ What I did not know was that CBS cancelled the DVD show after the first season, but then Carl Reiner lobbied the network,, got new sponsors, CBS un-canceled the show, and then it became a hit. So in that context, that makes sense of that that "odd" theme, espcially since another poster on that same board quoted above says thi:

Well now! Lyrics! http://lyricsplayground.com/alpha/songs/t/...themesong.shtml

Yeah, I'm wondering if that 2nd Theme might not have been used for daytime reruns or something. As I understand it, the opening "I Love Lucy" opening that we all know was constructed for exactly that purpose, not the theme itself, just the opening sequence with the script rolling out over the heart.

Ok, here we go: No rearrangement here. But... I had completely forgotten about this one: http://www.youtube.com/watch?v=mBRZ9NJ3amQ When the hell did they use that one?

Ok, you're talking about changes within an existing arrangement, not a total re-arrangement. You might be right then. I don't know.

Nothing says A Mountain Christmas like WINSTONS! Elly's eagle snatches Jed's Winston cigarettes, and he ain't happy about it. Yeah, and that eye action of hers makes me think that she thought they were...

Granny thinks she has an "inhale-o-phone" during a conversation with Cousin Pearl. Jethro practices his book learnin' with Miss Hathaway, while learning the importance of a nicotine habit. Granny shows Miss Jane how to get a man -WINSTONS!

The Beverly Hillbillies opening theme song had an extra verse during the first season; this is the Winston version. After a 'dandy trip', Mr. Drysdale introduces Jed to the pleasures of a Winston cigarette, white-thing-and-all. Granny takes a Winston shotgun through her corn-cob pipe. Jed's impressed.

There's a fine trio (piano, bass, & conga!) version of the Lucy theme on Jerry Gonzalez' Ya Yo Me Cure. Hillton Ruiz really shont on that one. As per the Beaver there, wiki lays it down thusly: http://en.wikipedia.org/wiki/Leave_It_to_Beaver I don't recall re-arrarngements of either Van Dyke or MaHale though.

Arch Fenster Uncle Fester Lazy Lester

Ah! A name that's not yet been mentioned is Gabor Szabo, a hero to Santana and many other aspiring not-necessarily-jazz guitartists of the time. And no wonder. His playing was similar to the rab & blues also infiltrating the popular ear at the time, but was not derived from it. A very unique player.

Guitar Slim Fats Domino Chubby Checker

David, I did not know that you did the Ray gig! Were you on it while Mark Van Sickle & Don Wilkerson & Johnny Coles were too?

Dig the way that Borgnine sliiiiiides into the part. As if to the manner born!

I never really dug Stordahl's arrangements for Sinatra's Columbia sides. Maybe I should go back and relisten. Or not. However, his "farewell" album w/Frank on Capitol, Point Of No Return, is a real gem. Highly underrated & overlooked, I think. But this McHale's Navy thing, hey, I watched that show for years and years and years. Who knew it was ear-conditioning for the years to come?!?!?!

http://www.youtube.com/watch?v=7xIop3mQgTk&NR=1