JSngry

http://www.youtube.com/watch?v=aTGEOc53S5Y...feature=related No, it ain't "hard". But it sure is perfect. Almost Blue Note worthy, this straight-eighth drumming is. Seriously. Check him out behind the guitar solo, and then how he brings (hell, LIFTS) Lennon back in at its end. Whatever else he couldn't do (and lord knows there's more than a little of that...), he could do this, and do it damn well.

http://www.youtube.com/watch?v=Tb9-h2M9D1U...feature=related

Long Tall Sally Short Fat Fannie Loud Mouth Annie

Same here, on all counts.

http://classicshowbiz.blogspot.com/search/...ek%20that%20was WARNING - There's a lampoon of American racism included in this clip rhat is very, uh.... unflinching. And totally un-PC. But the drummer on the theme sounds like Klook or somebody.

http://tv.jazzcorner.com/view_video.php?vi...07ee22b6198c578

Lewis & Clark Martin & Lewis Rowan & Martin

Sorry to hear about this, and not to deflect attention away from Ms Yow's death, but I couldn't help but notice this at the end of the above story: Do ya' think that....?

And htat was your introduction to the exciting world of on-location snuff films?

Maybe she's feeing insecure herself about aging? Crazy it sounds, sure, I mean, we know she's beautiful (I hate to say "still" because true beauty is pretty much an eternal quality for me), but insecurity is quite the irrational nervewracker. Wouldn't be the first time that somebody of either gender starts hitting 40 and gets anxious to prove that they've still "got it", more to themselves than to anybody else.

Please do, and pay attention to how Mathieu's arrangements integrate the soloists into the chart. It's very seldom a head-solo-outchorus thing like so much big-band writing is. This guy weaves them in and out of the arrangements, almost as commentary rather than as statement, if that makes any sense. A very linear, organic, non-rigid course of development, it seems to me. You know how I feel about Kenton in general, but this one is....different somehow. At least to my ears.

Ian Carr Ward Bond as Wagonmaster Major Seth Adams Dr. Jerrold Stock, MD

Agreed, but why did she wait til she hit 40 to start taking off her clothes in every movie? Because now, it's only for people who will truly appreciate it instead of every adolescent-brained horndog on Planet Earth?

I'll say! http://www.youngmedia.org.au/mediachildren...hunderpants.htm

Stan Kenton - "Willow Weep for Me" from Standards In Silhouette. Marvelously inventive writing by Bill Mathieu impeccably interpreted by the band. Not sure what, if anything, Kenton had to do with this ending up as it did, but if credit is due, then credit is given. And if it turns out that Mathieu was given free reign to rehearse & conduct his charts, then he gets the credit (and Kenton would get credit for knowing when to do the right thing and get out of the way).

Strongly seconded. And hey - shit happens. To deal with it gracefully is the mark of an evolved human being.

Looks like Red Rodney to me.

Hey, them unemployment offices ain't gonna staff themselves...

The Kenton version on Standards In Silhouette is a real gem.

You're a seasoned jazz fan and you want to check out even more of the sounds of the dead? Dude....

Milt Gabler George Gobel Goober Pyle

Injun Joe The Cleveland Indians Cleveland Amory

We can have this "Tristano/White" discussion into perpetuity and make time stand still, or we can listen to the ways that it hasn't stood still, and the ways that Tristano has affected both white & non-white players (if only in terms of opening up a sense of "alternative-ness" to bebop and/or modality and/or free), how for those who aren't so hung up with anything except music that it has by and large become just that - music, and how for those who still want/need/can't escape the sense of eternal identity segregation (and they come in all hues), it will always be about more (and thereby less?) than the music. For me, the latter route is much preferable, and much more real. Trisatano's "racial" significance relative to his music was of his time. His (& Warne's & Lee's) musical significance is of ours, or should be. Thinking of it as being a wholly "white" thing is old-school, and, truthfully, old-fashioned, irrelevant, and anti-evolutionary. But that's just me.

That Don Bagly was gettin' his groove on, wasn't he!