JSngry

http://classicshowbiz.blogspot.com/2008/09...-12th-1955.html Move ahead to about 7:30

http://classicshowbiz.blogspot.com/2008/09...-life-1953.html

All things considered, make mine Prestige.

Just as a general comment, I've long felt that it is too easy to discredit these "in-between" musics by defining them by their more obvious (in whatever manner) examples, & that by doing so we miss a whole 'nother world of music, music that although indeed neither fish nor fowl is nevertheless not some failed mutant offspring but instead is a wholly viable-within-itself organism. And really, if something is indeed viable within itself, what other "justification" need it have? Also, I think that the mantra of "individuality" is a double edged sword, for too often it is used only within certain tightly defined parameters, and when something falls too far outsider those boundaries, the problem of "authenticity" springs up. Which is, I feel, a fair argument to have, but not if the possibility of "authentic to one's own self, not anybody else's" is disallowed from the outset. At what point does "individuality" negate "authenticity", and if so, why? and if why not, then how come? If you know what I mean... Now, having said all that, I must also say that I have a lot of respect for Gioa's book, and significantly less (overall) for the world of Stan Kenton, in spite of all the people who passed through it on their way to sometimes bigger and/or better things. But in spite of that, the premise that things must be evaluated on their own terms (although not exclusively/ultiamtely so, I mean, eventually we all gotta prioritize) and that such a task might stretch some "evaluators" to places where which they might not be comfortable (and therefore send the postcard without making the trip) is one with which I concur. Although, in the end, my final judgment in such things comes down to "is this relevant to my lifestyle?" which is, I think, the ultimate test that anybody puts to anything. I only feel comfortable doing this, though, because I try (stress, try) to keep my vision of what my "lifestyle" could/should/could not/should not entail and include as open to suggestion as it is firm in experience. Otherwise, on runs the risk of only confirming what they already know and confusing it with "the truth". The truth, I believe, is a quantity open to all but owned by none. One piece of the pie, no matter how tasty and no matter how filling, is not the entire pie, much less the entire kitchen, never mind the ecosystem that produced the ingredients of the pie and the manufacturing system that constructed the implements used to bake it. One piece of the pie is ultimately just one piece of the pie. Period.

Can I call collect?

Does this offer include airfare?

Ok, answer my own question: http://en.wikipedia.org/wiki/John_Williams John Towner is filmscore John willimas. And I knwo that John Towner recorded at least one semi-jazzy (sic) LP, because my old HS band director was in the Air Force with him, had a band phot and had the semi-jazzy (sic) LP.

Where does John Towner fit into all this? Every time somebody tells me, I forget, which I guess shows how much I really care, but...

I bet that homebody wouldn't mind being mounted & intervened by a redhead like her... You do remember his proclivities in that regard, do you not?

Sounds like an interesting guy.

I think that's where all their new jazz albums are being released these days. Jazz now = "classical" as opposed to "popular".

I guess time's up for this one, too..... That's Ray Fowler (engineer) standing on the far left in grey suit. Sarah Cassey is seated, wearing an open jacket. Ken Deardoff (art dir.), Orrin Keepnews and Billie Wallington (George's wife, she was our Publicity Dir.) are also in there, somewhere, as am I (with a little girl between my legs). What kind of a record was this, Chris? I know Mason Adams as an actor/voiceover talent, but who's the other guy?

Yeah, I know. But it's all about the Jack. Trust me.

http://www.amazon.com/Magic-Land/dp/B000Y2...9439&sr=8-1 Also on hand - Chick Corea, Stephon Harris (on some cuts), Randy Brecker (ditto), & John Patitucci. The repertoire is all film/cartoon songs, with an overall vibe not unlike those Franco Ambrosetti Movies sides, if not exactly like it either. Chick plays really fine too, but not any better (or significantly differently) than he did w/Joe back in the 70s, so hell, if you wanna hear Chick do this thing, why not hear it with Joe instead? Makes sense to me. Butman is a good player. He don't suck. But...you know... The story here is DeJohnette, who came loaded for bear (or maybe just loaded, hell I don't know), and who kicks ass from start to finish. I could go on, but all you really need to know is that Jack kills here. That should be enough. If it ain't, then either you don't know, or you don't care, either of which is fine with me. I'm just saying, here it is if you want it.

I mean, eally, it's all there except for the drum beat, and that's almost already there.

That's exactly what I'm thinking about!

http://classicshowbiz.blogspot.com/2008/09...hayes-1973.html

Not quite....

I clicked on the link & listened to the cut. the thing sounds ripe for a dance remix, seriously. Has anybody done one?

" Occidental" http://en.wikipedia.org/wiki/Occidental

It's not often that I see that much resemblance between her & Monday, but there, I do.

http://classicshowbiz.blogspot.com/2008/09...allen-1956.html bottommost clip

Is Texas gonna have to rename itself Tina?

I could answer that, but I won't because it might make me look "smarter" than I am. I opnly learned the answer recently, from a poster here. Stereojack, otoh, owns this one!

1999: MCA Music Publishing is renamed Universal Music Publishing http://new.umusic.com/History.aspx Universal Music Publishing Group website: http://new.umusic.com/History.aspx Search fo UMPG website for "Herbie Nichols": http://www.umusicpub.com/search.aspx?Searc...amp;x=0&y=0 Your Search Returned No Results http://www.umusicpub.com/licensingrequests.aspx : To license music from Universal Music Publishing Group for synchronization usage in motion pictures, television and radio, commercials, live performance, home video, in-house video, ringtones, or consumer products/merchandise, karaoke, etc. You may contact our Film & TV Licensing department 1 of 3 ways: 1. Online Licensing Request Form online (below) OR 2. Download License Request Form (PDF) and fax it to the department at 1-310-235-4905. (Requires Adobe Acrobat – click here to download Acrobat) OR 3. Contact UMPG By Phone: Universal Music Publishing Group, Film and TV Licensing Department, 2440 Sepulveda Blvd. Suite 100, Los Angeles, California 90064-1712 Phone: 1-310-235-4721, Fax: 1-310-235-4905, E-mail: umpg.licensing@umusic.com Search of ASCAP sote for Herbie Nichols: http://www.ascap.com/search/results.aspx?c...&sa.y=0#223 Search of ASCAP site for "The Gig": http://www.ascap.com/search/results.aspx?c...&sa.y=0#324 You want a lead sheet, right? You want to use an image of it, right? That may or may not require permission of the publishers to fly "legally" (don't know if an image of a lead sheet counts as "usage" or not), but it shouldn't be that hard to get one, right? But damned it the using the web is gonna help...