JSngry

http://www.flickr.com/search/?q=%22carolin...w=all&s=int http://www.elitemodel.com.br/em_detail.php...Rows_rsFotos=15

Exactly right. But if the NEA has a beef, what's to allow them from ponying up some bread to create programming that addresses their concerns? Is that not allowed?

Hmmmmmmmmmmmmmmmmmmmmmmmmmm.................... Yeah, kinda, sorta, for a little while, maybe.... But I'll take Clarence Sharpe for the block.

http://celebritysmack.blogspot.com/2006/11...f-anorexia.html

But if you have any of the three Blue Note 78s that were released in stereo, we'll count those. And if you have all three we'll count them as 4! But - if you have stereo copies with mono labels, they count as -137 each. Manlaw?

It's all Lester Young, really, the saxophonistic ways of altering pitch & timbre through fingerings. He did it both ways (mostly timbral, though), but it's a natural outgrowth of that to take it further and see what comes after that. The instrument itself practically begs you to, believe me. Now, as for "instinct" vs. "planned out", I know what you're getting at, but the reality is that very seldom does anybody stumble across a technique fully formed. What you hear both Jenkins & Joe doing is stuff that they both knew exactly how to do long before it got recorded.

So let's see...funding gets to be a bigger bitch every year, so you turn to formats more likely to raise local revenue, then you get your balls busted about what you do to keep the shit going. Is that about right? Tell you what - why doesn't the NEA quit bitching & put some buckage into NPR to underwrite the type of programming they'd like to see? Would that be illegal or something?

Newer rule: They've gotta be 78s or they don't count.

And he'll be doing it on Fox? I'm SHOCKED!

Don't understand what you mean by this. Please elaborate?

S.J. Perelman S.I. Hayakawa Laetitia Casta

I went for Zambia instead.

I'm still not convinced that that's not a mis-titling or a mis-crediting of composer credits. I've listened long and hard, and damned if I hear any connection to Sam & Dave's hit, other than a very loose referencing of the rhymic outline of the horn lick.

Ah, deductive reasoning at its finest!

How's you know it was Carla?

Is it just me, or does Fruscella consistently sound like what you'd expect a junkie to sound like if you didn't know what a junkie could sound like?

Well hell, I don't really "need" the CLB set, I mean, I know what it is, I know what it's gonna sound like, and I know I'm gonna "like" it just fine, but I really don't have a need to explore this music beyond what I already know of it, not now, and probably not later. But $68.00? Hell, that's a good price for some good recreational listening, so I went on ahead & bit. I'm quite the sucker!

that means ?? I have one hundred twenty five thousand two hundred twenty three Blue Note recordings. I can vouch for that. He bought all my triples-and-above.

Those were on the original LPs.

There is now! For that matter, is there any link between Walter Jackson & KISS?

Greg Errico Chester Thompson David Garibaldi

It's sessions (and players) like this one (and these two) that drive home how few players really got Bird. These guys did. Clarence Sharpe was another one, as was/is (in his own "man from another time" way) Charles McPherson. Plenty of people got the basic vocabulary, but few got the, for lack of a better word, "flavor", that great emotional-through-harmonic & rhythmic beauty of things being more than one thing at the same time yet still being one thing. It's the latter quality that to me is the true essence of Bird, not the licks. And these guys got that.

I still maintain that Patton was too "subtle" to break out too much beyond the "niche market" he was in, at least here in the U.S. He didn't display blatantly dazzling chops like Smith, his repertoire was nowhere near as blatantly "funky" as somebody like Billy Larkin, & he made few, if any, concessions to "commerciality". Sure, he was "greasy". But his was a most organic form of grease, & it didn't necessarily call attention to itself unless you were predisposed to hearing it. I myself had the first few BN albums (at a time when I was more about the "uncompromising sounds of freedom" and all that stuff), and was basically underwhelmed until I got Accent On The Blues & Understanding. Then I went back & re-heard what I had missed the first time around. I suspect that my experience of not fully "getting it" was not all that uncommon. There's a big difference between cats like Patton & Roach and people like Smith & Patterson. With the latter group, it's all there for you, you can't miss it. With the former group, it's not so easy, unless, like I said, you're predisposed to where they were coming from in the first place (and perhaps tellingly, I discovered Roach after my Patton conversion, and "got" him immediately). What (almost?) all those "hits" have in common is a strong beat, a beat aimed at the feet of dancers. Either that, or a level of overt emotionalism that hits you upside the head. Or both. Big John wasn't ever about any of that, and that's why I think he didn't have the big breakout tune. But we all love him now, so hey.

http://members.cox.net/kellybob/weekender2000.html Scroll down past the color pictures. This kind of stuff fascinates me to no end, not for the music, but simply because of how some people get bit by "the music bug" at an early age and never let go of it, even if it means doing all sorts of weird and/or crappy gigs. And this guy fits the bill to a T! BTW - Bobby Rambo, who is mentioned & pictured in the above article, is alive, well, & still playing. A very tasty blues & country player, he's had an ongoing on-again/off-again musical relationship w/Jerry Jeff Walker for longer than he can remember. But as a blues player, hey - the guy's one of the tastiest around. No B.S. pyrotechnics from this guy, just simple, soulful melodies played with an impeccable of balance & space. I learn something everytime I play with him.

Jackie Kelso Sgt. Bilko Bobby Rambo