JSngry

Gotta say, though, that "I like the reharmonization, but find the soloing quite pedestrian" sums up how I feel about a lot of both Evans & Guaraldi, allowing for a tad of conversational color & such.

I heard that...

Oh yeah, to the topic at hand, I've also deeply enjoyed the Dexter version on Our Man In Paris, although it's perhaps "out of character" of the tune itself. But oh well about that. The Sinatra version is also superb, and let's not fail to consider the possible inspirational effect of Nelson Riddle's wholly original arrangement. But the real sleeper, of all the versions I've heard and can remember (not 100% overlap there, unfortunately), is one by Helen Merrill with some intense/stunning/etc Wayne Shorter commentary and soloing. It can be found here: and can be safely recommended to all who might enjoy it, as well as some who might not. {Edit to add KUDOS to Shawn, whom I see is reading this thread, for hipping me to this fine album of prerecorded music!)

Hey, I really don't enjoy being anal about things, but when it comes to stuff like that, I can't help myself. Probably just because of my experience as a player & having too many instances of "almost is" not equaling "actually is", thaat there are some points and somethings where "is" really does mean is, if you know what I mean, and the subsequent frustrations & delights that come out of those realizations. In oterhr words, I can be as relativistic and abstract as almost anybody, but not when it comes to the point of thinking that almost not hitting that tree is definitely not the same as not hitting it. But anyway, that might be my favorite Prez/Basie solo as well, although there's also "Pound Cake" and "Let's Make Hay While The Moon Shines", and...hell, who am I kidding? They're all my favorites...

Similar in spots, notably the bridge, but not a direct contrafact by any means. "Inspired by" is about as close as I'd go.

If you wanna freak yourself out, make the first version you lean the changes from be the Miles/George/HerbieRonTony band's version. From either Four And More or My Funny Valentine, I forget which. Probably the latter, if memory serves, as it occasionally still does... Like the man said - if you live, you'll be HIIIIIGH!!!! And just for grins, find some "easy listening" version, just to hear them revel for days in that opening diminished chord (it's on the original sheet music, btw, I got it in an older-than-sin fake book & that's just one of countless surprises and delights to be found as far as what you think are the real changes and what in fact are the real changes...), and then go back to that half-diminished that jazz calls for, and be thankful that sometimes discretion is the better part of valor.

I'm down w/a DL, please.

http://doodlinlounge.podomatic.com/entry/2...T15_38_23-08_00

For download, courtesy of a collector: Ben Sidran chats w/Freddie Hubbard: http://rapidshare.com/files/179177384/Sidr...Hubbard.mp3.zip Moderators, feel free to remove this if it's inappropriate.

Phyllis George Phyllis Hyman Dick Hyman

These are both long time favorites, must-haves for sure!

Do they got them devil eyes in person?

Yeah, but you'll be able to download it at mind-boggling speed to your million gig hard drive that will be implanted under your skin at birth. Whoa! Freeze me now and bring me back later!

That Indianapolis therefore deserves a better zoo?

John Tower Tower Of Power Dexter Gordon

Well, supposedly the orchestra gave Sinatra a Standing O at the end of "I've Got You Under My Skin", so that must've been as electric going down as it has been coming out. (and jeez, there's enough openings there for cheap jokes to last most folks a week or so, so y'all dive on in & carpe diem. It's ok.)

Dude, he was being industrious. Let that be a lesson to us all.

This guy? In all seriousness, how many people know those notes because of "A Fifth of Beethoven" not actual exposure to the composition? Dan, you impetuous youngster! I had heard it in commercials & TV comedy shows in the 50s & 60s long before I heard Walter Murphy do it. The point being that there will always be little "artifacts" that survive in some form or fashion, and getting worked up about it all "dieing" or some such is just plain silly, really, like "Our time on Earth was just SO damn special that nobody else will ever be able to do the grand things we did, so we MUST keep our time on Earth alive for all to be stunned into submission by!". That's bullshit. Life does go on.

Bill McDavid: http://ultimategto.com/cgi-bin/showcar.cgi...968/68c_00017_1 David McDavid: http://www.mcdavid.com/ Widetrack: http://vids.myspace.com/index.cfm?fuseacti...VideoID=5695920

Hmmmm.... 1958: 2008: So, waht if the jazz of 50 years hence sounds like the jazz of 75-100 years ago, is that gonna be a good thing?

That might be overload...we'd have next to no time left for 21st century music! Which is why I think the tendency towards sampling/etc. is both necessary and healthy over the long haul. We need to clear up some space on the mental hard drive to keep functioning in the present. Too much of a backlog slows things down that way. Yet we need to keep some signifiers from our past active somewhere in our consciousness as well. Although at one level it's unfortunate that many people only know, say, the opening few notes of Beethoven's 5th, on another level, so what? Would it be a better world if everybody knew the whole piece inside and out, or would it be the same world only more Beethoven-literate? As it is, those notes "ring a bell" with a helluva lot of people, and some of them at least know that it's Beethoven, and some of them at least know that once upon a time there was a cat named Beethoven, who was a guy who wrote some stuff back a long time ago, and it's supposed to have been pretty awesome, and if you go dah-dah-dah DAHHHH and say, "That's Beethoven", they might smile and say, "Oh, THAT guy!" and then move on with a smile on their face. In that kind of way, sampling, etc. is just another form of this. Maybe not the best of all possible worlds, but one of the better of all plausible ones, if you know what I mean. Never scoff at having people walking away with a smile on their face relative to the overall condition of the world in which we live!

Quoth the Stards: Quoth AMG And the band: Freddie Hill Trumpet Tony Terran Trumpet Clifford Scott Sax (Tenor) Jim Horn Sax (Baritone) Gerald Wiggins Organ, Piano, Piano (Electric) Jeff Kaplan Guitar Tommy Strode Organ, Piano, Piano (Electric) Dennis Budimir Guitar Les Buie Guitar Arthur Wright Guitar Jimmy Bond Bass Carol Kaye Bass (Electric) Earl Palmer Drums Gary Coleman Percussion, Vibraphone All I can say is, if you like this kind of thing, you'll really like this kind of thing!