JSngry

No, that's mine.

http://www.caiman.com/Caiman/contact.cfm?l...d=1&mp=1100 At the bottom it says And from this forum: http://www.southbeach-diet-plan.com/forum/...isguise....html VG=Virgin Gorda

Oh yes it is!

I remember a side of his w/Joe Farrell that was quite nice. Don't have that one, but I do have another one of his that's "ok".

There's a late-70s(?) broadcast recording floating around of J.R. Montrose & Sal Nistico that shows Triglia in fine form. Seems like he's one of those guys that chose to stay active w/o pursuing the recording part of their career (or else just weren't courted by anybody). But he's still around, and still playing.

Yes.

Metric?

But of course!

And three cheers for Grrrrrl Power!

Whoever it is is NUTS!

What I've long wondered is what does Phil Spector DO every damn day?

Interview: http://www.allmusic.com/cg/amg.dll?p=amg&a...mp;sql=61::72IP

One can never have enough Jack Nimitz!

Not now...

IIRC, they were on the inner sleeves of several albums.

A good goat'll do that for ya'.

Neither Benson nor Jarreau are without some pretty formidable skills...

Dude, is there anybody you can't say that about?

The cover photo is from 1947, and was done by Toni Frissell, who called it "Midsummer Night's Dream": http://www.artnet.de/Artists/LotDetailPage...F8B917E22559FDC Somewhere on the Web there is (used to be?) a collection of other shots from this same shoot. All are intereesting, but this one was the real grabber, imo.

OK. I get it. Hmmm. Definitely not a "unanimous choice", not by any means, but it's long been a favorite of mine, especially "People Make The World Go Round". Yeah, it's CTI, and yeah, it's slicker than hell, and yeah, Ron Carter's all over the bottom of it like Sherwin-Williams in reverse, but when it's all over, it's got a vibe (no pun intended) all it's own, even a bit of CTI Mojo, and the slink factor is stealthy but very real. At least it is for me.

WOW ...i never heard of this show , was it a nationally broadcast show or regional (nyc?) Syndicated.

Some subtle, all-ACOUSTIC grease:

Ok, I've been wondering about this for quite a while, so I finally sat down & counted/charted bars & chord changes. The two A-sections are consistent at 14 bars (8+6) and follow the same progression (at the same rate) each time through. The bridge is 10 bars (it's on track to be 8 until bar 7, when he opens up the phrasing & makes what would usually be a 2 bar phrase into a 4 bar phrase. That sort of expansion fits right in w/what had been going on in the A-sections. The final C-section, is in two halves. the first is 8 bars, and it's in the second where things get a little slippery. Sounds like Marvin suddenly decides to add a few beats before getting into the "and the home..." line (not a goof, but a spontaneous "feel" thing). That causes this section to resolve on the 7th bar instead of the 6th, which would have been in keeping with the length of the two A-sections, 8+6. So yeah, Marvins' phrases are variable (but then again, Marvin was a phreaking master of phrasing - I've put together a CD of all the officially released versions of the Bobby Scott material, and the differences are RADICAL from take to take, year to year), but there's a symmetry & consistency to the accompaniment that leads me to believe that the arrangement was fixed in advance - and that there was a live keyboardist on hand to cover that extra bar towards the end. It's an amazing performance, & I've known a few people over the years who tear up at just the mention of it. But that's the kind of guy Marvin was. He could do that to you.