JSngry

Have you heard ZigZag? There's some excellent writing on that one.

Nat and Laine were actually buddies in the early L. A. days. In fact, some people thought that "Frankie Laine" was a pseudonym for Cole, on Laine's very first Atlas 78s. Here's an example of early Laine that is QUITE Cole-ish: And then there's this, composed by Laine & Carl Fisher, just a beautiful song: I like Rawhide and it's kin. But I like this stuff a lot more

Josh Jung gets a wrist fracture from a HBP from ex-Astro Phil Maton, who also hit Evan Carter & Adolis Garcia in the same inning. Hmmm ....

Congrats to Adolis Garcia on career HR #100!

Big Sue Blevins - Pastel Rope Burns

There's a few other Christlieb/Marsh pairings that I prefer, although to be honest, I put up with Christlieb to get to the Warne, Always. But Warne seemed to enjoy playing with him, so there that is!

STRONG sets both!!!!

No, it's ok, he's a little off here. Just a little, but enough to notice.

Wow a flurry of activity already! TRACK ONE - Pure land for the tractor? Not my favorite Freddie record at all, not even this group of cuts. Hank is just a little off. OTOH, Elvin. So hey. TRACK TWO - This is sick. The second tenor is Warne, so I'm going to guess that the first is Pete Christlieb. Is this from Apogee? If so, this is a drier mix than I'm used to hearing it with, and that's ok with me. Not my favorite Warne overall,, but it's always good to hear him in different settings, such as a fire-breathing tenor duel. As always he rises to the challenge by going counter to it. What a genius he was, one of the real ones. TRACK THREE - Hmm...not feeling this one as much, playing or recording, seems a bit lacking all around. sorry. TRACK FOUR - LOUDLY QUIET!!!! I get it, but I'm not in the mood for it right now. Their problem, not mine. It almost sounds like somebody who takes Santana more seriously than I do... TRACK FIVE - QUIETLY LOUD!!! I get it, and am in the mood for it once the post-Steve Coleman alto starts, The lyrics have a good message, I guess this is what happens when men don't talk to their kids about what being a real man means (maybe because they don't know either?). Anyway...I wish this cut played a little hotter (and the one before less hot) because I do like it. It's fresh enough to pique interest. TRACK SIX - I like the arrangement (plus how it's executed) and how that seems to be the focus of the performance. The bass solo is just a tasty interlude. Did the trumpeter do the arrangeent? Very, very nice! TRACK SEVEN - Call for the Angels from Albert! Get the tractor ready, we're plowing under the sins of this world to grow a new spirit for the next one. Or so one hoped. But no matter, this is SO church, so TOTALLY church. TRACK EIGHT - I wanted to dislike this when the metal started happening, but the tenor playing kept me in. A bit of the same preaching element as the Albert cut, but....preaching without the church, if that makes any sense. Also references back to George Adams with Gil Evans, sorta. Anyway, it got me in and kept me in, and there was no guarantee of that. Kudos! TRACK NINE - Get one to go with your tractor! It goes better with the video! Thanks, Randy, I appreciate the brevity in terms of both # of tracks and overall time need to complete the exam. Time pleasurably sprenT!

Oh really? White people didn't just all at once flip a switch and decide to play black

Tractor?

Tomorrow he's walking out to that bridge and fixing it right before our own very eyes.

I had Illinois Jacquet, Lullaby Of The Leaves from Swing's The Thing Illinois Jacquet Roy Eldridge Jimmy Jones Herb Ellis Ray Brown Jo Jones However you dance, this should do it.

Uh oh, bullpen regression.

Bernard Stollman was an advocate for Esperanto.

I am familiar with most of Sinatra's work, including that one. I'm probably in the minority on this, but I don't think that Sinatra really got a handle on swinging until his Reprise years. His Capital records themselves swung, and he himself often did, but there's always these little choppy spots. Maybe that was just his way. But the older him and his voice got, the fewer choppy spots there were. And of course, the ballads were and are beyond category. But the Frankie Laine/Paul Weston records bear hearing. They seem to have been forgotten. And Weston shows a really deep feel for swinging arrangements that I guess I didn't realize he had. My bad! And...you put Laine & Weston & Jo Stanford & Mitch Miller and shit can get downright crazy:

Pretty fun Rangers game this evening!

Weak-Hand Willie - Trouble In The Treble!!!

Very!

Is this still available? A day late to ask, sorry.

@Chuck Nessa Did you produce this one?

Not everybody like her as she evolved into a more diva-esque presentation, and I get that. But skills is skills and those skills could do whatever the hell they wanted. Somebody on here years ago complained that she treated her voice like she was an athlete, and I was like, what, when you got Michael Jordan skills, you don't use them? Did you complain about Michael Jordan being too athletic? Singing is physical. Hell, music is physical. Mad skills alone are not a thing to be shy about displaying!

I wonder if any of this is the "experimental" stuff that David Ritz mentions in his Gaye Bio, stuff that is not really rooted in pop song. A tantalizing possibility, even if whoever does release it is not likely to look for those items as potential product. But just Marvin a capella layering himself....that would be enough for me.