JSngry

I want me some of them Eagles throwback unis. Not.

Yah.

And oh yeah, who wouldn't be "up and coming" around Jayne Mansfield? (you didn't think I was going to let that one slip away now, did you?)

Oh yeah, but unlike Jeopardy, I think the new one was better. By the way, there's a clip of the old one on YouTube that features Jayne and an "up and coming" Orson Bean... http://youtube.com/watch?v=iy2a6-g9sZo http://youtube.com/watch?v=etiwVa5csz4 http://youtube.com/watch?v=EQwXNrgaieE Segment #2 (the Audience Match) is especially recommended!

http://www.angela-cartwright.com/

I consider it a standard in the sense that it's a tune that everybody knows. As to why it's not a "jam session favorite" or anything like that, probably the same reason why more Mingus tunes aren't - a lot of cats are lazy and want shit they can get the head out of the way of so they can begin to solo. This is a tune that calls attention to istself as a composition, and the form of the tunes is not the solo form, what with the extended thing at the end. Now as for who else has covered it, three come to mind immediately - Herbie Mann (live at Newport,with a classic early Chick Corea solo), Booker Ervin (on Structurally Sound) & Mark Murphy (on Muse, with some YMMV lyrics, in a version that was quite imaginatively remixed by Japan's United Future Organization).. And for the BFD file, I transcribed the original voicings and used them for a "brass section only" arranging class assignment back in the day. The transcription was a lot trickier than I thought it was going to be, and was a real eye/ear opener about how much was really going on with Oliver and how he moved his inner voicing. I had the lead line, and the bari line (which was a helluva lot more mobile than I thought it was going to be) was fairly easy to pick up, it being on the bottom and all, but getting those inner parts was a real challenge! But looking at AMG, it appears that there have been a respectable amount of covers of this tune. However, I gotta think that the fact that the BATAT version is just so freakin' iconic that a ot of people have probably looked at it and thought, "hey...what else you gonna do with that one?"

If Marcel Marceau keeled over dead in the woods, and there was no one there to hear him fall, would he still make a sound?

No shit! When?

Just reviewed the copy of SNC, and it was an ad that I saw. I guess her new album is being distributed in the UK by Warners, so she might be getting some backing that might make a difference.

I don't really speak Spanish. I've picked up some useful words and phrases over the years (once spent about a year in a house band in a club here in DFW where nobody spoke English...). I can pick up on a few key words to get the general gist of a song, but if I want to know exactly what's being said, I need to sit down w/a dictionary and possibly a transcript, and work it out like that. Haven't really focused in on the lyrics here, just getting kinda goosebumpy over the voice itself, the life, the energy, the spirit in it. Mighty strong stuff just on those terms!

Anybody remember the original Match Game on NBC, early-mid '60's? Not comedy oriented, and it was two celebrity-led teams competing, but Jayne Mansfield was a frequent celebrity captain...

Tony Paige did?

I dig this one too! It was the 2nd Brubeck disk that I pruchased right after Time Out. I'll have to give it renewed attention if such astute listeners rank it so highly. Found it underwhelming on first encounter, myself (he admits, sheepishly). Hey, keep in mind that subjectivity rules here, ok? I will say, though, that at this stage of the Brubeck 4's career arc, that there seemed (to me) to be a "norm" of "sunshine" & "obviousness" to thier work. Now those are loaded words, I know, full of potentially negative connotations, and I don't mean them that way. I only meant that the band was full of nice guys making nice music and enjoying doing it. Hey, nice work if you can get it! The thing about ...Eurasia for me is that there seems to be some points, especially in Desmond's work, where all that kinda goes into the background, and some genuine...melancholy (none dare call it darkness though!) begins to permeate the proceedings. And that works for me, because I know that no matter how "sunshiney" a person is, they got some of that in them too, unless they're just totally programmed and/or tragically dysfunctional. So it's good to hear this band give out with a little bit of that. However, once again, as they say, YMMV, and if it does, I'd not worry too much about it!

And one more thing, sort of a "philosophical" joint... It's very "uncomfortable" living in the present as it moves towards the future. A lot of stuff goes on & is over before it starts, and you like it for a quick minute and then ou don't and then something else comes along and the same thing happens over and over, lather rinse repeat, and after a while you just get tired from all that mess, and jeez, don't it feel good to sink into the comfort of the time-tested tried-and-true stood-the-test-of-time CLASSICS? Well yeah, it sure does. The only thing is this - the past doesn't move. It is what it is and it has done what it's going to do. And if we, as living cretures inhabiting the contemporary portion of the time space continuum take that as our primary m.o. instead of as a role/study/enlightenment model, well... what's the point of being alive, really?

From the BOL commentary: From the rapidly-appraoching-vernarable-stausu -Mister MG: I'm listening to the clips as we speak, and, wow...what a voice, what a spirit. And, quiet as it's kept, the "dance underground" has more than a few voices/spirits (and producers too - Joe Claussell for one can bring it all together in a way that'll stop you in your tracks until you start dancing in them, and we all are at least becoming aware of Louie Vega) that can really deliver a song in a way that transcends "genre" & does nothing less than puts y0ou smack dab in the middle of "everywhere, all the time", the sense that for once (or finally, depending on where you've come from), it's all coming together, finally, THANK GOD. And here's a little bit of "cosmic irony" for you - I ordered the final issue of Straight No Chaser magazine (they're ceasing publication & "collector" that I am, I wanted a copy of the final issue). It came yesterday, and I was just looking at it about 30 miutes ago, having just awoken for the day & doing what we all do iimmediately upon rising Thumbing through it for the first time, I saw either an ad for or a short article about Concha Buika and got the vibe from the picture that this woman had a strong spirit. So I was sgoing to investigate further during and after coffee. So I sit down, get on here to the O-Board, and what's the second thing I see? This thread. With a link. And you say there is no God. :g :g

Mostly sports, yeah. Jackie Robinson, Roy Campanella, Joe Louis, Sugar Ray Robinson. many more, all of whom Lou knoew personally. Lou used to be a baseball player in his youth, he talked about that a little bit. He was actually in The Polo Grounds in 1951 for The Shot Heard 'Round The World. Lots of reminiscing about athletes and teams from the 50s. As a sports fan who started in the 60s but quickly leaned about the past, this was a treat, because Lou hung in Harlem in the 50s, same as the Black athletes of the time, and there was a lot of social interaction, which he also talks about. And he talks about music just a little bit too, but nothing he's not said before, not generally. Seems like he's making good money from being sampled so much! If you got dial-up, find a buddy who doesn't and download it as a .mp3. It's only 31 minutes long, so then you can burn it as a regular CD and listen to it anywhere. It really is a gas!

Right click the download button Select "Save Link As..." Call it what you want to, but make it a .mp3 file. That'll do it right there. Great interview, btw. I love hearing musicians talking about stuff besides music, and it sounds like Lou really knows his sports. And Tony Paige don't seem to be no dummy either. Great interview!

Well, if all that mattered to me was "good performances", I'd just stay home, buy records, & trade live shows. Guaranteed results, and no hassles with parking. I just think that seeing somebody in person has the potential to give you a better picture of the person behind the music, and therefore possible a better feel for what's going on in the music. Potentially. But definitely, those who only know, say, Ellington from records and videos don't have the same "feel" for him as do those who saw him in the flesh back in the day when he was always out there doing it. Doesn't mean that those who did "get" better than those who didn't, or that those who didn't can't "get" it, just that....it's different. We don't have that chance anymore, but we do have others. Anybody can "read" history, but not everybody gets to see it as it happens. Now, this may or may not end up being a "great show", but in my mind there's no doubt that historically speaking, these are musicians of historical import, and that an opportunity to see a group such as this is a chance to witness history of one sort ot the other as it happens. And if it doesn't sound like an "opportunity" to you to see some true giants in the flesh instead of on record, hey, save your money for CDs and shit. They need that income too. And watch a ballgame on TV while you're at it.

Glad to see another fan of ...Eurasia. For some reason, that one has a little more "depth" than a lot of the others. Entirely subjective, I know, but hey...

Geez, it's kinda scary to think that anybody thinks that what I have to say in thse off-the-cuff "conversations" has any merit beyond the chit-chat of the original context, but....thanks! If nothing else, I can tell my bosses at my straight(jacket) job to go home and Google me next time they think they're dealing with some chimp. :g

And it seemed to me that Monday on The Gong Show = Friday on The Match Game...