JSngry

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!

Not to be flip, but 50 years is but a blink of the eye, really, once you remove "yourself" from the picture. Try 500, 5000, or even more... Having said that though, we got stuff preserved in a way that past generations didn't. Look at how much "classical" music has survived simply due to its having been preserved in written form. Even though the standard repertoire is a relative fraction of what survives, the other stuff is stll there when/if somebody wants to get to it. We have actual recordings, not just printed facsimiles. And I can guarantee you that somebody is going to keep a big bunch of them around in some form, even if tragedies like the Universal & Atlantic warehouse fires cut back on the totality of it all. So I'm confident that the recodings will survive, somehow. Now as to how many people are actually listening to them, well, who knows. The cool thing about sampling is that it allows for voices (vocal & instrumental) to keep popping up in constructs far, far removed from their original settings. So, yeah, in 50 years, you might well still be hearing Bird, or Trane, or damn near anybody, just as a "voice" in some whole other environment. Purists will be outraged, but I think that's a good thing, since a "voice from beyond" that speaks to you too literally, too clearly, too right-in-your-face-ish is kinda....creepy.

I mean, "When I Grow Up To Be A Man" only sounds "happy" until you actually pay attention to it (musically & lyrically). Then it gets kinda, uh....tense. Brian Wilson, as we all now know, was a pretty disturbed cat even in the best of his times. I know that mileages vary widely and wildly on this, but even early on, with that irritating "dip" that he'd use to slide into pitches (which in retrospect sounds like the musical equivalent of try to duck a punch thrown by your father...), I'd always felt some sort of...something in his music, some kind of...depth of perception (and relative to his peers, any depth, even the most superficial, would be a difference...), that was totally lacking in other bands, like The Hondells, or Jan & Dean, or...you name 'em. And once you get to and past The Beach Boys Today, the whole "surf music" ethos pretty much becomes a non-issue. Ok, I spent a few hours Thursday night playing Pet Sounds, trying not to get emotional at the same points I always get emotional at. I failed. Sure, the pain of lost innocence is pretty dumb to those who never had much (or any) to lose. But if you did, it's not a happy thing, ever, even after you grow up and realize that that's just how life is. Not for nothing is the theme of "paradise lost" one of the eternals.

And up until mid-1965/early 1666, that generalization would be accurate!

FLO IS NOT THE COMEDIC GENIUS!!! THE CUSTOMER (PLAYED BY MONICA CREEL) IS!!!

Yeah, that damn "Caroline No" is just one bigass carousel ride...

The live tracks of Sinatra's Duets, the ones where they turned his half-senile ass loose in a studio with a big band & a mike, just like in a live show, and let him roam the room to sing it for real, post-productionize it later, let's get this much right now. Based on what I hear through the finished results, they probably had to pitch-correct like a mofo, but that phrasing appears to have been out in near-full force one last time, and that would have been something to behold, the lion's last great roar in a studio. Hell, forget about beoing there, Ca[pitol should just release it like that. Lose all that horrid duet shit and give us the real deal. Pitch correction optional, depending on how bad it really was, but let's hear the old man working the room one last time.

Blaze Masters at Work Joe Claussell

Is it my imagination (or lack of it?), but does Martino have a stronger lower register tone than most of his "ilk"? What is that, heavier gauge strings?

City Of Glass, maybe. Just to watch the engineers.