JSngry

http://www.dustygroove.com/item.php?id=d99...p%3Bincl_cs%3D1

Yeah, her side w/Cannonball is fine, pretty much a classic, if only for "cultural soundtrack" reasons (you could, I guess, say the same thing about "Guess Who I Saw Today"), but other than that, nothing's really stuck for me over the years. Fine singer, but.... Although, I must say that I'd not mind hearing "It's Over" at least one more time before I die. That was a Top-40 hit, & I remember it as being the type of record Vicki Carr would've been making it I were in charge of making Vicki Carr & Vicki Carr records.

She quite often had top-shelf arrangers on her dates. That goes a long way for me. If the arrangements are cool enough, I can tolerate some lightweight-ish or otherwise less than fully satisfying singing as part of the total package.

Well, I'm not really "with" her all that much either, there's usually a "ground floor" of emotion missing in her singing for me, but I very much do dig Jimmy Scott.

Side note - just re-watched Anatomy the other day and was again amazed/fascinated/delighted/all of the above/etc with the exquisitely prolonged exit/decrescendo/whatever of the score out of the main title sequence into the main action. I'm not aware of any other movie that does it quite like that, although I'm certainly not enough of a film buff to have an informed opinion about that.

Yeah, the reharmonization they did makes it a whole new tune within a pre-existing one. Pretty nifty trick, and one they did on other pieces was well, but never as organically as on Stella, inmo.

This guy is a true hero. And the way the way the whole affair went down speaks volumes to the benefits of individuals and organizations spending the time and money to train and otherwise get people ready to handle the unlikely and/or unexpected. Too much of American life, personal and business, is geared towards playing the odds, with an eye towards anything else being viewed as a "luxury" or something "we don't have the resources for" or something like that. This incident shows that, yea, sometimes things do go wrong, and that yes, having people and procedures in place who are well-prepared for when they do does make a difference. When the shit hits the fan, proactivity beats reactivity damn near every time (sic)! Whether or not the positive principles displayed throughout this event proves a symbolic prelude to the upcoming change in administrations remains to be seen, but god, one certainly hopes so.

http://www.washingtonpost.com/wp-dyn/artic...-2004Dec24.html http://smu.edu/blackfilms/

Very good album.

You can hear Dinah in her, sure, but who you car really hear is Jimmy Scott.

EXCELLENT!!!

It was good enough for Lou Donaldson...

Deepest thanks for the tip, Ted.

http://www.dustygroove.com/item.php?id=45h...%3Bformat%3Dall Ok, a friend of mine who bought this before it became "Temporarily Out Of Stock" sent a scan of the back cover, and a few samples. Yes this is Fred Jackson. The Fred Jackson, credits include Lloyd Price. Sounding just great, as you might expect. Oliver Nelson can be heard playing and arranging a blues single in his unmistakable style, and surely this is the first Bluiett on record, no? My friend sent three sample cuts, and they all are worth the while! Details are sketchy, this appears to be a collection packaged with an original LP cover design and minimal additional info inside, but hey, it is what it is, and I've signed up for the notification when it comes back into stock.

There was a time when I would have been offended, or at the least, perturbed, but the last 5 or so years have presented me seemingly innumerable opportunities on a variety of fronts to better see what's inside/behind a lot of this Japanese pop culture stuff that seems so weird at first glance to Americanoplized eyes, and I gotta tell ya, I though this impersonation was a good piece of affectionate comedy. It does potentially raise issues of racial stereotyping and "cluelessness" but not just from the Japanese side of things - we Americans tend to automatically assume that the entire world has our set of racial histories, hangups, and problems, and it just ain't so. I think trane-fanatic's opening words say it all: And so, in spite of a world of ever-shrinking boundaries, there are still some many, many critical, essential even, ways in which, in this case, "the Japanese" do not understand our culture and the historical ramifications of same. But every bit as equally important is the fact that the same can accurately be said about us towards them. There is no end to the thing that need to be learned. What a wonderful world indeed!

http://www.ehow.com/how_4676775_make-a-waterburger.html

Agreed. I was actually going back in to add those when I saw your post. Vol. 1 especially with George Coleman on board. Yeah - it's still the best of those fine albums. Issued in the US on Muse (although the rest were Timeless only I think). Actually on Impulse! in the US (as was Blakey's "Album of the Year" and a couple of other titles). I have Eastern Rebellion on a Muse LP. You're both right.

http://www.youtube.com/watch?v=4_mZ3HknLkE

This one? http://cdbaby.com/cd/pucillo2 Yep!

And by Wayne Shorter, I mean Blakey/Vee-Jay era Shorter. Real direct tone, blatant harmonic dissonances, all that.

At times, yeah. At least on this record. There's another one I've heard, led by some drummer, doing all Mingus tunes, a pretty obscure album, that sounds like a Jimmy Giuffre session. Underneath it all, it's still Bill Perkins. But the guy sure wasn't afraid to consider his options, that's for sure.

These are sentiments with which I concur.

Jim - your comments on Mulligan reminded me of a recent e-mail I got from a friend - hope he doesn't mind me quoting him: I think describing Mulligan as "limited" is perfectly fair. Sometimes that "limited" thing absolutely hits the spot for me, sometimes it doesn't. From having transcribed some of his quartet arrangements, I have to say that it's one of those cases where, as Mark Twain said about Wagner, "His music is better than it sounds." Every time I do one of those transcriptions, I gain more respect for Mulligan as an arranger, but even so, it's a sound you either like or you don't, and most people don't do their listening with a pad of manuscript paper in front of them. (Believe me, I don't recommend it!) Being an arranger of sorts myself (and having been wired that way since Day One, I guess, I mean, as a kid I was listening to the string parts on Sgt. Pepper more than the lyrics...), listening to Mulligan that way probably comes naturally to me. But yeah, it was limited, ultimately, since Mulligan's musical/world/life/whatever view was not particularly broad or deep relative to "all things considered". But - and this is key for me - it was his, always. And as such, it was not without personal nuances, graces, subtleties, and, relative to itself, depths. I'm ok with that in terms of living and let living (hey, I WANT to live! ), because whatever else it might have been (or not been), it was a genuinely personal expression. I just don't get that "core of self" in Wynton's work, at least not the overwhelming majority of it. Now that might be my failing, it might be that Wynton's "self" is present and I'm just too....whatever to hear/feel/relate to it. Fair enough. I'm just saying that I'm not usually one to fail to grasp a "personal message" at at least some level in many musics, especially the one in which Mr. Marsailis applies his craft, so any suggestions that it's my problem will be met with less immediate acceptance than would be if the same charges were levelled against me relative to my reactions to Goth Rock or some such.